• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.226-241
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• 2020

Located on the right side of the third floor of the State Hermitage Museum in St. Petersburg, the "Art of Central Asia" exhibition boasts the world's finest collection of artworks and artifacts from the Silk Road. Every item in the collection has been classified by region, and many of them were collected in the early twentieth century through archaeological surveys led by Russia's Pyotr Kozlov, Mikhail Berezovsky, and Sergey Oldenburg. Some of these artifacts have been presented around the world through special exhibitions held in Germany, France, the United Kingdom, the Netherlands, Korea, Japan, and elsewhere. The fruits of Russia's Silk Road expeditions were also on full display in the 2008 exhibition The Caves of One Thousand Buddhas - Russian Expeditions on the Silk Route on the Occasion of 190 Years of the Asiatic Museum, held at the Hermitage Museum. Published in 2018 by the Shanghai Chinese Classics Publishing House in collaboration with the Hermitage Museum, Kuche Art Relics Collected in Russia introduces the Hermitage's collection of artifacts from the Kuche (or Kucha) region. While the book focuses exclusively on artifacts excavated from the Kuche area, it also includes valuable on-site photos and sketches from the Russian expeditions, thus helping to enhance readers' overall understanding of the characteristics of Kuche art within the Buddhist art of Central Asia. The book was compiled by Dr. Kira Samosyuk, senior curator of the Oriental Department of the Hermitage Museum, who also wrote the main article and the artifact descriptions. Dr. Samosyuk is an internationally renowned scholar of Central Asian Buddhist art, with a particular expertise in the art of Khara-Khoto and Xi-yu. In her article "The Art of the Kuche Buddhist Temples," Dr. Samosyuk provides an overview of Russia's Silk Road expeditions, before introducing the historical development of Kuche in the Buddhist era and the aspects of Buddhism transmitted to Kuche. She describes the murals and clay sculptures in the Buddhist grottoes, giving important details on their themes and issues with estimating their dates, and also explains how the temples operated as places of worship. In conclusion, Dr. Samosyuk argues that the Kuche region, while continuously engaging with various peoples in China and the nomadic world, developed its own independent Buddhist culture incorporating elements of Gandara, Hellenistic, Persian, and Chinese art and culture. Finally, she states that the culture of the Kuche region had a profound influence not only on the Tarim Basin, but also on the Buddhist grottoes of Dunhuang and the central region of China. A considerable portion of Dr. Samosyuk's article addresses efforts to estimate the date of the grottoes in the Kuche region. After citing various scholars' views on the dates of the murals, she argues that the Kizil grottoes likely began prior to the fifth century, which is at least 100 years earlier than most current estimates. This conclusion is reached by comparing the iconography of the armor depicted in the murals with related materials excavated from the surrounding area (such as items of Sogdian art). However, efforts to date the Buddhist grottoes of Kuche must take many factors into consideration, such as the geological characteristics of the caves, the themes and styles of the Buddhist paintings, the types of pigments used, and the clothing, hairstyles, and ornamentation of the depicted figures. Moreover, such interdisciplinary data must be studied within the context of Kuche's relations with nearby cultures. Scientific methods such as radiocarbon dating could also be applied for supplementary materials. The preface of Kuche Art Relics Collected in Russia reveals that the catalog is the first volume covering the Hermitage Museum's collection of Kuche art, and that the next volume in the series will cover a large collection of mural fragments that were taken from Berlin during World War II. For many years, the whereabouts of these mural fragments were unknown to both the public and academia, but after restoration, the fragments were recently re-introduced to the public as part of the museum's permanent exhibition. We look forward to the next publication that focuses on these mural fragments, and also to future catalogs introducing the artifacts of Turpan and Khotan. Currently, fragments of the murals from the Kuche grottoes are scattered among various countries, including Russia, Germany, and Korea. With the publication of this catalog, it seems like an opportune time to publish a comprehensive catalog on the murals of the Kuche region, which represent a compelling mixture of East-West culture that reflects the overall characteristics of the region. A catalog that includes both the remaining murals of the Kizil grottoes and the fragments from different parts of the world could greatly enhance our understanding of the murals' original state. Such a book would hopefully include a more detailed and interdisciplinary discussion of the artifacts and murals, including scientific analyses of the pigments and other materials from the perspective of conservation science. With the ongoing rapid development in western China, the grotto murals are facing a serious crisis related to climate change and overcrowding in the oasis city of Xinjiang. To overcome this challenge, the cultural communities of China and other countries that possess advanced technology for conservation and restoration must begin working together to protect and restore the murals of the Silk Road grottoes. Moreover, centers for conservation science should be established to foster human resources and collect information. Compiling the data of Russian expeditions related to the grottoes of Kuche (among the results of Western archaeological surveys of the Silk Road in the early twentieth century), Kuche Art Relics Collected in Russia represents an important contribution to research on Kuche's Buddhist art and the Silk Road, which will only be enhanced by a future volume introducing the mural fragments from Germany. As the new authoritative source for academic research on the artworks and artifacts of the Kuche region, the book also lays the groundwork for new directions for future studies on the Silk Road. Finally, the book is also quite significant for employing a new editing system that improves its academic clarity and convenience. In conclusion, Dr. Kira Samosyuk, who planned the publication, deserves tremendous praise for taking the research of Silk Road art to new heights.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.254-267
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• 2019

Clamp resist dyeing is a resist dyeing technique in which a fabric is sandwiched between two or more pieces of woodcarving and then a pattern is expressed by dyeing. Records from nine years of King Heungdeok's reign during the Unified Silla dynasty show that the use of the clamp resist dyeing technique was banned for different garments. This was only for garments of YOOKDUPUMNYEO (六頭品女) or OHDUPUMNYEO (五頭品女). Given this, it can be assumed that clamp resisted fabrics were widely used, and the technique had been established during the Unified Silla dynasty or before. However, only the term can be found in the records. Neither its definition nor how this technique was used is explained. Also, it is difficult to assume the types and features of clamp resist dyeing due to a lack of materials. A small number of relics from the Goryeo dynasty still remain, though. Craft techniques have developed through international exchanges and have changed according to respective nations' circumstances including politics, economics, society, and culture. Hence, this research analyzed documents and relics from China and Japan, two countries neighboring the Republic of Korea, and studied the different types and features of clamp resist dyeing techniques. Clamp resist dyeing techniques were divided into monochromatic or multichromatic according to the number of colors that represented patterns, rather than according to the respective nations' features. They were also classified into mono, bilateral symmetry, or vertical-bilateral symmetry according to the structure of the patterns. Through the study of examples of inherited or reproduced dyeing techniques in China and Japan, it was confirmed that different engraving techniques, including relief, openwork, intaglio fit for the feature of a pattern and the number of colors, were applied in order to vividly represent patterns on fabric. Using small flower pattern clamp resist dyed fine tabby in Amitabha of 1302, the only relic showing its patterns and colors in Korea, as the experiment subject, this research successfully reproduced a clamp resist dyeing technique through a successful experiment based on the basic materials from the dyeing technique case study. Due to the significance of the experiment on a clamp resist dyeing technique that stopped its transmission and shows the features of the technique, this study is expected to be a basic resource that can be used for future reproductions of multichromatic clamp resist dyeing techniques. Also, it is expected to be helpful in widening and recreating the world of Korean pattern dyeing with modern dyeing techniques.

• Journal of the Korean Association of Geographic Information Studies
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• v.15 no.4
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• pp.151-161
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• 2012

The purpose of this study was to build a web-server for culture heritages management information system in order to efficiently manage and safely preserve undesignated cultural properties in the Namsan area in Kyeongju, which have been neglected so far. In order to achieve this purpose, data were collected on the basis of undesignated cultural properties in the study area. To acquire the location and range GPS were used and spatial data including geographic coordinates, visual materials and structured interviews were conducted through field survey. In addition, in order to obtained reliable and accurate locations of undesignated cultural properties which are scattered, DGPS(Differential Global Positioning System) were used. The spatial database was constructed based on the standard of cultural properties and attribute data was linked to geo-spatial information(digital map and aerial photographs). This system was built in a web-server environment. The result shows detailed description on the selected output for selected location and property information can be located on the map. In particular, a database to search for the status and modification of cultural properties will provide information to the users.

• Journal of the Korean Institute of Landscape Architecture
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• v.23 no.4
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• pp.61-80
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• 1996

This research study presents historic revolutionary sites in North Korea. In this study, the creation of historic revolutionary sites in North Korea after the Liberation of Korea in 1945, as yet unpublished in the field of landscape architecture and urban planning, is investigated. For conducting this study, the method of true and urban planning, is investigated. For conducting this study, the method of archival research, in which regarding documents, plans and photographs are investigated, was used. This study covers notions, establishment, related laws and regulations, distribution and present status, developmental stages, concrete examples, and general characteristics, of historic revolutionary sites in North Korea. In North Korea, historic revolutionary sites mean all the places where revolutionary achievements of Kim, Ill-Sung and his family are reached. Those sites have been actively created for the purpose of the idolization of Kim, Ill-Sung since the 1960s. In recent years, the sites have been revobated and new places of this kind have been constructed, so that various idolization facilities and structures are now everywhere in North Korea. Historic revolutionary sites are mainly distributed now everywhere in North Korea. Historic revolutionary sites are mainly distributed now everywhere in North Korea. Historic revolutionary sites are mainly distributed in Pyungyang, the forest areas of Mt. Pakdu, the areas along the shore of the Tuman River and the Abrock River. In those sites, various historic revolutionary relics are preserved, and the statues of Kim, Ill-Sung, historic revolutionary monuments, revolutionary museums and other facilities are constructed. These places can not be regarded as planned spaces for people in true the meaning of place, and accordingly they must be reconstructed for people's use. They can be redeveloped as places of history, culture and deucation, theme parks, green open spaces, and sight-seeing facilities after unification of Korea. This study can be used as valuable information for further study especially for the reconstruction planning of the places in preparation for a probable unified Korea. For a profound study, North Korea must open broader and more accurately detailed documents, regarding historic revolutionary sites, to the outside world, and the South Korean Government must also have a sense of co-ownership of the information about North Korea rather than exclusive possession and restrictions. Ultimately, academic exchange between South and North Korea must be realized and on-the-spot surveys must be carried out so as to find a reasonable land use plan for the historic revolutionary sites for a future unified Korea.

• The Journal of Korean Medical History
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• v.27 no.2
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• pp.145-157
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• 2014

The "Annals of the Joseon Dynasty (朝鮮王朝實錄)" is the precious historical material which contains royal culture of Joseon dynasty as an official document. It kept a record of the diseases and treatments relating to the 27 Kings for a period of 518 years, who had a variety of different symptoms. Among them the most frequent disease was a skin disorder such as a boil of a painful infected swelling. Dermatosis became the direct cause of death of several Kings. In this article we tried to conduct research using the "Annals of the Joseon Dynasty" into the skin diseases of the Kings during the first period of Joseon dynasty from the first King Taejo (太祖) to the 12th King Injong (仁宗). Among the 12 Kings, the 5th King Munjong (文宗), the 7th King Sejo (世祖), the 9th King Seongjong(成宗), the 10th King Yeonsangun (燕山君), and the 11th King Jungjong suffered from dermatosis. The King Munjong died at the age of 38 and suffered from severe boils before his death. The cause of death is thought to be septicaemia. The King Sejo does not have any specific record of skin disease, however, the recently discovered relics showed the indications of serious skin trouble of boils. The King Seongjong suffered from skin diseases at the age of 20, 27, 28 and 38. Nevertheless, the direct cause of death was not dermatosis. The King Yeonsangun had skin trouble of boils on his face when he was 20. He lost the throne and died of an infectious disease at 31. The King Jungjong had a record of suffering from dermatosis at the beginning of twenties, at the middle of forties, and at the age of 57 when he died. The skin trouble affected the whole of the body. He was treated with acupuncture therapy and medication for both internal and external uses among which folk remedies were included.

• Journal of Conservation Science
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• v.26 no.3
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• pp.269-276
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• 2010

This study aims to extract manufacturing techniques by analysing metallurgical characteristics of the cast-iron pot from Bubjusa, examining corrosion status and microstructure with a optical microscope, SEM-EDS, micro vickers hardness tester and XRD. The microstructure analysis has presented that ferrite and partial portion of pearlite exist within the corroded outer layer. The analysis of the inner layer revealed that there is pearlite and graphite of feather shape. The one of the middle layer, which is placed between outer and inner layer, showed that corrosion has been heavily developed. Micro vickers hardness values range from 217Hv to 698Hv in constituent layers and such values lie within the ranges of the ancient iron relics. The result of EDS analysis for each microstructure presented that the outer layer has been more decarbonized than the inner layer. XRD analysis of iron corrosion compound revealed that Goethite and Hematite had been produced from the corrosive process of iron. The study concludes that the large iron pot was made by casting technique, and microstructure of inner layer had a gray cast iron. Outer layer has been decarbonized through repetitive process of heating and cooling. This results can be used as fundamental data for comparative study to reveal manufacturing techniques of large cast-iron pot.

• Journal of Conservation Science
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• v.27 no.4
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• pp.371-380
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• 2011

For studying of the characteristics and structures of material in lacquer layer in Joseon Dynasty, 6 types and 7 pieces of sample were observed with the optical microscope and the polarizing microscope. For analyzing, SEM-EDS and FT-IR were used and TOF-SIMS was also used on trial. The former is directly varnished on the iron layer so the sample includes more iron component than the others. In the results of the trial analyzing in TOF-SIMS, it is possible to verify the minerals on the foundation layer with the infinitesimalsample. The analysis results of lacquer layer with FT-IR are compared with previous studies and all the samples have the spectrum of the lacquer. Through the result of the Joseon lacquer layer, there are not many samples, however, when it compared with unified Silla, the period of the Three States, and the previous era, the lacquer layers are simpler than the relics from previous era. It looks to have the relation with the simplification of manufacturing method because of expanding of the using of lacquer wares.

• Journal of Conservation Science
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• v.28 no.2
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• pp.175-184
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• 2012

A purpose of this research is to find out characteristic of bronze artifacts and gold ornaments excavated from Xiongnu tombs No. 2~4 at Duurlig Nars in Mongolia through scientific analysis of them. The Tombs are comparatively small. There were still lots of relics remaining although the tombs had been already robbed. Also the tombs are evaluated important since the origin of them show coexisting of chinese and northern style. First of all, an analysis result about bronze vessels found in this site, they have high lead(Pb) content and relatively low tin(Sn) content, as compared with the Bronze Han Mirror and End-fittings of Bronze Parasol Rib. Especially in case of bronze tray and bronze lamp from the no. 2 tomb and also bronze cauldron from the no. 4 tomb contain only 1wt% of tin which means binary alloy composition(Cu-Pb). Also, in the case of gold ornaments found in the no. 2 tomb, they have comparatively high purity. And the research suppose that the high possibility of that they were used soldering using alloy of Au-Cu or diffused bonding(using malachite and copper oxide) for joining gold grains of gold granulation ornament. Further scientific research and analysis in Mongolia and other countries will provide more clues to solve mystery of Xiongnu culture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.159-169
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• 2012

Seokgasan(石假山) is originated in Goryeo, is a Korean traditional technique handed down to Joseon and Seokgasan is the Korean creative culture of gardening by artificial stones, which replicates small artificial mountain of natural landscape in the garden. The object of this study is Seokgasan made by Seong-im(成任), who was a civil minister in Joseon and lived from 1421 to 1484, in his residence located in Inwang Mountain, Hanyang and the purpose of this study is to investigate the historical meaning and symbol of Seokgasan made by Seong-im on the base of the relative old literatures and embody its shape and structure. According to the result of this study on Seokgasan of Seong-im, it can find out some facts as follows; Seokgasan of Seong-im in the early Joseon succeeded to the structural form of Seokgasan of the artificial rock mountain type connected pond, which was made-up firstly in the garden of the Palace of Manwoldae in the Middle Goryeo, and it was called firstly as 'Seokgasan' in the garden of Seong-im's house. Seong-im's Seokgasan in the early Joseon had more concentrated philosophical meanings, including the idea of taoist immortal, than those in the Goryeo dynasty and was be emblematic of an imaginative space. Also there were lots of gardens modeled on the famous mountains and famous lakes in China much the same as the Goryeo dynasty. In addition, there was an exceptional purpose for building Seokgasan which could not be found in the Goryeo dynasty. That was practicality for emotional stability and cure. Seong-im's Seokgasan is record-relics with high value of landscape architecture history, which can identify its historical meanings, shapes and structural frames succeeded from the Goryeo dynasty.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.170-191
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• 2018

Until now, the Korean archeological community has only been able to introduce the findings of classical archaeology developed in the West, and it also suffers from a lack of concepts and academic achievements. The domestic archeological community also started to develop later than that of the West, when it began to analyze ancient history and relics through the classic works of history titled Samguk sagi (三國史記) and Samguk yusa (三國遺事). Furthermore, it is actively utilizing the Chinese classics, such as the Samgukji (三國志) and Huhanseo (後漢書), as well as certain Japanese classics such as Ilbonsegi (日本書紀). Due to the total lack of domestic classics, however, there are few details about the formation of ancient polities, national changes, and inter-country negotiations and exchanges, as well as numerous other unresolved issues. This study raises the need to revamp classical archaeology in order to solve these problems. The concept of classical means 'all records made in the past' in the shallow sense, while the meaning of the historiography means "historical records according to the taxonomy of the old book." Classical archaeology is a field in which the classics are analyzed and interpreted so as to study the culture of the past. This section has set up a wide range of classical categories, and has found that the classics can be used in a meaningful way in classical archaeology through the use of the Gongjagae (孔子家語). The use of the classics in classical archaeology could produce significant results if the relevant DB is managed by various institutions and organizations using proper techniques of analysis including big data analysis.