• Korean Journal of Heritage: History & Science
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• v.33
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• pp.4-35
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• 2000

The paddling technique is a Kind of secondary treatments in the process of ceramic forming, which appeared in the Chinese Neolithic Age pottery making. In the case of Korean prehistoric pottery making, it was first introduced together with the kiln firing method from Tongpei region(東北地方) of China in Yan(燕) dynasty occupation period. Korean archaeologists have recognized the adoption of the new technologies as a drastic innovation of ceramic production. And most of them have thought that the diffusion of new techniques, accompanied by the migration of the northern ethnic groups, had been immediately followed by the innovative changes in pottery procdution. However, rejecting the arguments from the simple diffusionist viewpoint, I have first tried to describe the innovation processes in the ceramic production systems as a spatio-temporal process. The paddling technique by the cord-wound paddle, which was first introduced among the various paddles, was associated with the new sort of pottery, round pots fired in low temperature of reducing atmosphere condition. The cord-marked round pots first tried by the indigenous potters in the southern part of Korean were characterized by the relatively low leveled techniques in forming and firing, compared to those of north-east China. The techniques of the round pots were hardly improved in the domestic production system until the appearance of the fully-specialized one. The specialized production system of the round pot, which appeared first in the mid-western region of Korea, showed the diversified paddling techniques and made the noticeable improvements in forming and firing processes.

• Conservation Science in Museum
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• v.1
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• pp.37-42
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• 1999

Conservation treatment was done for the pottery-stand of Kaya period which was to be exhibited in celebration of the opening of Kimhae National Museum and for the jar of Chinese celadon which was to be exhibited in Korea National Museum's special exhibition "Formation of Ancient States". Through the examinations by naked eyes and under the microscope, condition before treatment, patterns and manufacturing techniques of the objects were observed. According to these examinations, conservation treatments, suitable for each object was finished. As the pottery-stand was damaged severely, the epoxy resin was pasted directly on the broken surface of the pottery to restore the original shape and pattern, color and feeling similar to original state were given to the restored area. Although same restoration material was applied on the celadon, it was not pasted directly on the broken surface of the celadon so that the restored area could be dismantled, and color and feeling were also treated somewhat differently.

• Korean Journal of Heritage: History & Science
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• v.44 no.4
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• pp.86-111
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• 2011

Wan is a tableware in which boiled rice or soup, side dish are put, and it is a representative model which shows the development of personal tableware. From the establishing period of Hanseong Baekje, the form of wan which is Jung-do Style(中島式) Plain Pottery of previous period Proto-Three Kingdoms Period was succeeded to, but wan is produced and used as a wan baked in the kiln, which is far development of the producing technique including hardness and clay. By and large, the size of $0.3{\sim}0.4{\ell}$ was the majority and the production technique of wan which used carefully selected soft quality clay are largely confirmed to be two methods which are, first, basic method by which on a clay tablet on the rotating table, clay band is accumulated and moulding is finished, and second, the new method which had the same basic moulding as that of basic method but in the last stage takes wan off the rotating table and reverse it to trim the bottom and remove the angle of flat bottom. The former, basic production method is the classical production method since wan of Jung-do Style Plain Pottery and wan was produced and used for all periods of Hanseong Baekje. On the other hand, the latter is the production method obtained through form imitation of China made porcelain flowed into through interchange between Baekje and China, and through comparison with Chinese chronogram material it is estimated to have been produced and used after middle of 4th century. Therefore it can be known that the Baekje people's demand for China made articles was big and imitation pottery was produced and used with Baekje pottery. In addition, bowl with outward mouth are confirmed in multiple number in Lakrang(樂浪) pottery wan and it is assumed that wan was the form produced under the influence.

• Journal of the Korea Furniture Society
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• v.27 no.4
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• pp.375-382
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• 2016

This study focuses on the shape of the bottle, the Chinese Qing Dynasty porcelain decoration. Consideration given to understand the basic form of the catheter, and the basic division. To study the binding form to the principles of the design work to prepare a lacquer on the basis of the results obtained here. When classified by type illness Qing Dynasty porcelain decorative porcelain six types, semi-porcelain could be classified into five types. Production form to pursue work in this study design is produced in the form of asymmetrical vases object type curve. These bottles of Qing Dynasty porcelain for decoration. The basic type of pottery types and selected six of its basic and applied work. Production design work was produced Hyupjeotae production techniques that facilitate formative representation.

• Journal of the Korean Society of Food Culture
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• v.6 no.4
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• pp.433-443
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• 1991

To analyse reception dishes of Choson Dynasty the author studied historic book-Youngjeob Dogam Bansunsek Euigwae (1609, 1626, 1634 year) in which the daily reception dishes for Chinese envoy in Choson Dynasty were described. The results obtained from this study were as follows. 1. The daily food items for reception of Chinese envoy were refined rice wine, rice, large fish, fish, Zogi, Driedjogi, mullet, pork, beef, chicken, egg, salt, soysauce, sweet soy sauce, refined soy sauce, sesame oil, vinegar, bean curd, stone leek, parsley, ginger and gaslic etc. 2. The daily tablewares used for reception of Chinese envoy were ricebowl (bari), small bowl of porcelain (boa), water bowl (daejeop), soup bowl (tang gi), plate (jeopsi), small dish (jong gi), small earthen ware jar (dong hae), jar (hang), pottery (ong gi), wine glass (jan), water cup, chopsticks, kettle, cauldron, bottle, table, knife, napkin, dish towel, brazier, washbowl and meter etc.

• Journal of Sinology and China Studies
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• v.74
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• pp.53-77
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• 2018

The purpose of this paper is to study the shape and meaning of the 15 Chinese characters reflected by the ancient Chinese cooking methods and utensils, and to understand their cultural implications. In Chapter 2, the characters 炮, 炙, 蒸, 煮 were analyzed. Both 炮 and 炙 symbolize the way meat is roasted on fire, but their difference is the specific way of cooking, 炮 was used to describe a way to bake hairy animals with daubed with mud. 蒸 was used to describe a way to cook food with water vapor that is generated when heat is applied to the water. This was not a frequently used recipe in the early days because it required a lot of effort. 煮 was used to portray a way to boil food by adding water, and is shaped like a figure of a pottery put in fire. In Chapter 3, the characters 鼎, 鬲, 鑊, 甑, 俎, which are related to cooking utensils, and 簋, 豆, 爵, 斝, 卣, 壺, which related to tableware, were analyzed, 鼎 was not only used as a cooking utensil, but was also a sign of status and political functioning. 鬲, 鑊 had meanings of "sot," or iron pot, but 鬲 had bent legs, while 鑊 had no legs. From the combination of the character 曾 and the radical 瓦, there is a high possibility that 甑 was a steamer, likely made by ceramics. 俎 was used to imply a cutting board and utensils used in ancestral rites to offer animals in ancient china. 簋 and 豆 meant circular dishes, and were utensils used in ancestral rites in ancient China. 爵 meant a liquor glass shaped like sparrow beak. Because 爵 looked like a sparrow, 爵 was used as 雀 in Song dynasty. 斝 meant a liquor glass that was cast in jade and had two poles. 卣 meant a liquor barrel with a round shape, 壺 had the meaning of a jar, but in ancient China, it meant a bowl for food.

• Journal of the Korean Society of Food Culture
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• v.7 no.2
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• pp.119-125
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• 1992

To analyze food material and table wares in daily reception dishes of Choson Dynasty, studied historic book 'Young jeob Dogam Zabmulsek Euigwae' (1609, 1643 year) described the daily reception dishes for Chinese envoy in Choson Dynasty. The results obtained from this study are as follows. 1. Food material for reception Chinese envoy were vegetable, pickled vegetable, soup (?水), brown seaweed, kelp, green seaweed, garlic, pine mushroom, mushroom, driedfish, fish egg, shrimp, pork, pheasant, fowl, salted fish shrimp and etc, various fruits preserved in honey, green peajelly, buck wheat jelly and bean curd. 2. The table wares were rice bowl(鉢里), small bowl of porcelain(甫兒), water bowl(大貼), plate(貼是), small dish(鍾子), small earthen ware jar(東海), jar(缸), pottery(甕), table(盤), chopsticks(?), washbowl(洗面盆), earthen ware steamer(甑), kettle(釜), brazier(爐), measuring cup(升), unit of measure(合), meter(稱子), spoon(匙), chest (函), lid(蓋), large rice bowl(所羅) and bowl(椀).

• Journal of the Korean Society of Food Culture
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• v.33 no.4
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• pp.322-329
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• 2018

This study analyzed the Gichuk years JagyeongjeonJeongilJinchan Misu. The banquet, Misu is offered to the king by the crown prince, crown princess, and vassal, according to procedure. JagyeongjeonJeongil Misu are offered as 49 dishes spanning seven courses, so seven dishes in each misu are offered. Various types of food, such as Gawjeong, fruit, soups and side dishes, are placed. Misu involves only the king, crown prince, and crown princess in the banquet. The number of misu dishes are different for the King and prince. The table used is called the Joochil Sowonban and the tableware used is brassware and pottery. Sangwha used Peonies, Chinese rose, Red peach blossom-samjihwa, and Red peach blossom-byulgeonhwa in each misu.

• Acta Via Serica
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• v.4 no.1
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• pp.25-69
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• 2019

India has occupied the most important position of sea trade in the entire South Asian region since the beginning of maritime trade. The extensive maritime trade network between the Harappan and Mesopotamian civilizations as early as the $3^{rd}$ millennium BCE is testimony to the long maritime trade history of India. The Harappans constructed many seaports including the first high-tide dockyard in the world for berthing and servicing ships at the port town of Lothal, Gujarat. From the dawn of the historical epoch, the maritime trade network of India expanded extensively. The long 5422.6 kms coastline of the Indian mainland (excluding the coastlines of the Andaman and Nicobar islands and the Lakshwadweep Islands) is well known for its several seaports manly located at river mouths or outlets to the sea. The main objective of this paper is to discuss in detail all the major ancient seaports on the eastern coast of India and their maritime trade activities. The narrative of these ports is based on archaeological explorations and excavations, foreigners' accounts, Indian literary sources, inscriptions, archival materials, and the field study and personal observation of the author.

• Acta Via Serica
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• v.3 no.2
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• pp.49-72
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• 2018

The extensive maritime trade network between the Harappan and Mesopotamian civilizations as early as the $3^{rd}$ millennium BCE is a testimony to the long maritime trade history of India. From the dawn of the historical epoch, the maritime trade network of India expanded extensively. The findings of a large number of coins, pottery, amphorae and other materials from Italy and various other European countries, west Asia, China, Korea, Africa, the Arabian Peninsula, Sri Lanka, Southeast Asia and Far-East countries in India, particularly in the coastal regions, are a testimony to the dynamic maritime trade of India with other countries in the early period. Similarly, pottery, sculptures, inscriptions and other materials of Indian origin are also found in those countries. The depiction of different types of ships on the coins, paintings, sculptures, seals and sealing, exhibit the variety of vessels used for navigation and other purposes in the early period. The over 7500 km-long coastline of India is well known for its seaports located at river mouths or outlets to the sea. The Periplus Maris Erythraei, Ptolemy, and Indian literary sources mention many seaports on the western coast of India. Interestingly, archaeological investigations in many of these port towns have yielded material evidence exhibiting their dominant role in transoceanic trade and commerce with many countries in the early period. This paper discusses in detail all the major ancient seaports on the western coast of India and their maritime trade activities. At the outset, the paper briefly deals with the Harappan's maritime network, their seaports and the type of ships of that period. Following this, the maritime trade network of India during the historical period with various countries in the east and west, the traces of Indian influence and materials abroad and foreign materials found in India, the products exported from India, the trade winds and navigational devices and the depiction of ships on the coins, paintings, and sculptures of the period are discussed in detail. After briefly highlighting the coastline of India and its favourable nature for safe anchorage of ships and the strategic position of the seaports of western India, an extensive account of the major ancient seaports of western India like Barygaza, Ashtacampra, Gundigar, Kammoni, Khambhat, Bardaxema, Suparaka, Calliena, Semylla, Sanjan, Naura, Tyndis, Muziris, Nelcynda and other seaports, and their maritime trade activities are given based on archaeological excavations and explorations, literature, epigraphy, foreign accounts, and numismatic evidence.