• Journal of the Mineralogical Society of Korea
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• v.31 no.4
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• pp.307-323
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• 2018

The Inseong Au-Ag and base metal deposit, located in Chungchengbuk-do, Korea, consists of series of quartz veins filling fissures. The deposit occurs in Hwanggangri meta-sediment formation, a lime pebble-bearing phyllite, in the Okcheon Supergroup. Abundant ore minerals in the deposit are pyrite, arsenopyrite, sphalerite, chalcopyrite and galena. The gangue minerals are quartz, calcite and chlorite. Hydrothermal alteration such as chlorization, silicitication, sericitization and carbonitization can be observed around the quartz veins. 4 vein stages can be distinguished based on its paragenetic sequence, vein structure, alteration features and ore minerals. Microthermometry of the fluid inclusion assemblages occur in the veins are conducted to reconstruct a hydrothermal P-T evolution. Fluid inclusions in clean and barren quartz vein in stage 1 have Th of $270{\sim}342^{\circ}C$ and salinity of 1.7~6.4 (NaCl eqiv.) wt%. Euhedral quartz crystal in stage 2 have Th of $108{\sim}350^{\circ}C$ and salinity of 0.5~7.5 wt%. Barren milky quartz vein in stage 3 have Th of $174{\sim}380^{\circ}C$ and salinity of 0.8~7.5 wt%. Calcite vein in stage 4 have Th of $103{\sim}265^{\circ}C$ and salinity of 0.7~6.4 wt%. Calculated paleodepth about 0.5~1.5 km (hydrostatic pressure) indicate epithermal ore-forming condition. Shallow depth but relatively high-T hydrothermal fluids possibly create a steep geothermal gradient, sufficient for base metal precipitation in the Inseong deposit.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.70-95
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• 2013

The Tejaprabha Buddha painting, located in the Korai Museum in Kyoto, Japan, was made in 1569 when Joseon Dynasty was in his $14^{th}$ year under SeonJo's ruling, and is only one of Tejaprabha Buddha paintings from the early Chosun dynasty. With its well preserved state, the painting allows clear indications of all icons and list of names that were written, and the record region also has minimal deterioration. This Buddhist painting is a GumSeonMyoHwa which is drawn with gold lining on red hemp cloth and has a relatively small dimension of $84.8{\times}66.1cm$. With the Tejaprabha Buddha in the center, the painting has two unidentified Bodhisattvas, Navagrabha, Rahu, Keto, YiSipPalSoo (28 constellation of the eastern philosophy), SipYiGoong (12 zodiacs of the western philosophy), SamDaeYookSung, and BookDooChilSung (the Big Dipper), all of which provide resourceful materials for constellation worshipin the Joseon era. This painting has a crucial representation of the overall Tejaprabha Buddhism - a type of constellation worships - from the early Joseon dynasty. Even though the composition does seem to be affiliated with the paintings from the Koryo dynasty, there are meaningful transformations that reflect changes in content into constellation worship in Joseon dynasty. As a part of the Tejaprabha Buddha, SipIlYo has become a center of the painting, but with reduced guidance and off-centered 'Weolpe (star)', the painting deteriorates the concept of SipIlYo's composition. Furthermore, addition of Taoistic constellation beliefs, such as JaMiSung (The purple Tenuity Emperor of the North Pole), OkHwangDaeChae, and CheonHwangJae, eliminates the clear distinction between Taoistic and Buddhist constellation worships. Unlike the Chinese Tejaprabha Buddha painting, the concept of YiSipPalSoo (28 constellation of eastern philosophy) in this painting clearly reflects Korean CheonMoonDo's approach to constellation which can be applied to its uniqueness of the constellation worships. The fact that the Big Dipper and ChilWonSungKoon (Buddha of the Root Destiny Stars of the Northern and central Dipper) are simultaneously drawn can also be interpreted as the increase in importance of the constellation worship at the time as well.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.94-113
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• 2013

Donggwanwangmyo[East Shrine of King Guan Yu] is the shrine for General Guan Yu from the Shu Dynasty, China. This type of shrine was begun to be built from the Tang Dynasty in China and from 1598 in Korea when the Japanese invaded Korea for the $2^{nd}$ time. Donggwanwangmyo is historically significant because it was jointly constructed by China and Korea in the spring of 1602 after the end of Japanese invasion of Korea. However, almost no research has been conducted about the sculptures standing at Donggwanwangmyo and there are many mistakes concerning the names and materials of these sculptures. This study is conducted to resolve these issues as follows: First of all, it was found that the main building of Donggwanwangmyo enshrines those which were moved from the North Shrine of Guan Yu and the West Shrine of Guan Yu during the Japanese colonial rule of Korea in addition to what was initially placed in Donggwanwangmyo during construction. These relics are assorted and each line of them is displayed in the center and to the east or west of the building. Among the relics, seven sculptures are standing at the center of the main building, among which one sculpture of Guan Yu is made of gold and two sculptures of maids and four sculptures of guards are made of clay. It is particularly noted that the sculptures of Guan Yu and his guards, Guan Ping, Zhou Cang, Wang Fu, and Zhao Lei, represent the portraits of historical characters that actually existed. Moreover, the sculptures of guards are characterized by the fact that they are unlike those in China, but have two pairs of literary men and warriors that stand facing each other as is the case in the royal mausoleums constructed during the Joseon Dynasty. Second of all, the sculptures from Donggwanwangmyo were carved in 1602, but their costumes and equipment were derived from the paintings from the Tang and Song Dynasties. Some decorations from the Ming Dynasty are also reflected in the sculptures. It implies that Donggwanwangmyo was partially modeled after the Shrine of Emperor Guan Yu[Gwanjemyo] in Jiezhou which was rebuilt in 1593 by Emperor Sinjong of the Ming Dynasty and that the secular and dramatic patterns of the Qing Dynasty are prevalent in the said sculptures based on the patterns of the Ming Dynasty because all the sculptures at the Shrine in Jiezhou were constructed when the Qing Dynasty ruled between the $18^{th}$ and the $19^{th}$ Centuries. In conclusion, it was found that sculptures from Donggwanwangmyo were created in 1602, that they follow the ancient traditions attested by the paintings of Korean and Chinese sculptures, and that they are very valuable in art history since they retain the original forms of the Shrine of Guan Yu built during the Joseon and Ming Dynasties.

• Korean Journal of Heritage: History & Science
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• v.39
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• pp.243-280
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• 2006

At the Bujang-ri Site, Seosan, South Chungcheong Province, around 220 archaeological features, including semi-subterranean houses and pits of Bronze Age and semi-subterranean houses, pits, and burials of Baekje period had been identified and investigated. In Particular, mound burials No. 5 of 13 of Baekje mound burials yielding a gilt-bronze cap along with other valuable artifacts drew international scholarly attention. The gilt-bronze cap from the mound burial No. 5 is a significant archaeological data not only in the study of Baekje archaeology but also in the study of international affairs and exchange at that time. At the time of exposure, the gilt-bronze cap was already broken into a number of pieces and seriously damaged by corrosion, and hardening and urethane foam were necessary in the process of collecting its pieces. Ahead of main conservational treatments on cap, X-ray photograph and CT(computerizes tomography) were taken in order to examine interior structure of the cap and to decide appropriate treatments. In the five layers identified in the profile of cap, a textile layer was set between a metal and a layerof bark of paper birch for avoiding direct contact of the metal and the bark of paper birch. Analyses were executed for examining textile layer and a layer of fibroid material. According to microscopic analysis, while the textile layer consisted of the simplest plain fabric with one fold among three kinds of textile structures, the layer of fibroid material was mixed with two or three kinds of fibers. A comparative analysis with standard sample using FT-IR (Fourier Transform Infrared Spectroscopy) announced that both textiles and fabrics were hemp. Analysis of kind of the paper birch resulted in barks of paper birch with 15 fold. A metallographic microscope, SEM, and WDS were used for the analysis of microscopic structures of plated metal pieces. While amalgam plating was treated as a plating method, the thickness of the plated layer, a barometer of plating technique, was ranged from $1.72{\mu}m$ to $8.67{\mu}m$. The degree of purity of gold (Au) used in plating was 98% in average, and less than 1% of silver (Ag) was included.

• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.126-149
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• 2021

The reign of King (later Emperor) Gojong of the Joseon dynasty (later the Korean Empire), which lasted from 1863 to 1907, was a period of turmoil caused by political and social instability at home and military incursions by foreign powers. It was also a period in which Joseon was proclaimed as the Korean Empire and, accordingly, the royal seals of the dynasty underwent a major change. Records show that some 135 seals were produced during the reign of Gojong. The present study of the makers and styles of the royal seals aims to reveal a wealth of information on the seals, which typically had handles in the shape of either a turtle or dragon. Among the seal makers of this era, Jeon Heung-gil was particularly highly regarded as a Golden Royal Seal Artisan (Geumbojang) because he was highly skilled at making both turtle and dragon handles. Kim Eun-seok, a master Jade Royal Seal Artisan (Okbojang), also excelled in the production of turtle and dragon handles for his jade seals. Another master Jade Royal Seal Artisan, Yi Jung-ryeo, is noteworthy because he developed a new style of jade royal seals, which eventually became the dominant style after 1890, when Kim Eun-seok was not active. Furthermore, after the 1890s, his style was also applied to the production of the gold royal seals and developed as the dominant style. Regarding the dragon handles adopted after the proclamation of the Korean Empire, both the golden and the jade royal seals were made in the same style by the same artisans in the service of the Joseon dynasty. They adopted the style of Chinese imperial seals when they began making seals with dragon handles for the Korean Empire, although the basic shapes of both handle and dragon were copied from those made during the Joseon period. As a ceremonial object symbolizing the authority and legitimacy of the royal or imperial family, the style of the royal seals was influenced mainly by changes in the political situation at home and abroad. As Gojong's reign was a period in which more royal seals were made than in the reign of any other ruler, the seals originating from his reign constitute a richer source of information about the efforts of the dynasty to preserve the tradition while effectively dealing with the changes of the new era.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.78-97
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• 2021

Seojangdaeyajodo is a drawing of military night training on February 12th (lunar leap month), 1795. Focusing on the Seojangdaeyajodo, the characteristics and of the costumes worn by various types of officials were examined. There were 34 officials located near King Jeongjo in and around Seojangdae, with 27 Dangsanggwan and 7 Danghagwan. They wore three types of costumes, including armor, yungbok, and military uniforms. All of the twelve armor wearers and the five officials wearing yungbok were dangsanggwan, and the military uniform wearers included eleven dangsanggwan and six danghagwan. For the shape of the armor, the armor relics of General Yeoban, suitable for riding horses, and the armor painting of Muyedobotongji were referenced, and the composition of the armor was based on practicality. The armor consists of a helmet, a suit of armor, a neck guard, armpit guards, arm guards, and a crotch guard. The color of the armor was red and green, which are the most frequently used colors in Seojangdaeyajodo. The composition of yungbok was jurip, navy cheollik, red gwangdahoe, socks made of leather, and suhwaja. The composition of the military uniform was a lined jeolrip, dongdari, jeonbok, yodae, jeondae, and suhwaja. There were differences in the fabrics used in dangsanggwan and danghagwan military uniforms. Dangsanggwan used fabric with depictions of clouds and jewels, and danghagwan used unpatterned fabric. Moreover, jade, gold, and silver were used for detailed ornamental materials in dangsanggwan. The weapons included bows and a bow case, a sword, a rattan stick, wrist straps, and a ggakji. In the records of the King Jeongjo period, various colored heopsu were mentioned; the colors of the dongdari and jeonbok of dangsanggwan and danghagwan were referenced in various colors. It was presented as an illustration of costumes that could be used to produce objects accurately reflecting the above historical results. The basic principle of the illustration was to present the modeling standards for 3D content production. Samples of form, color, and material of the corresponding times and statuses were presented. The front, the side, and the back of each costume and its accessories were presented, and the colors were presented in RGB and CMYK.

• (The) Research of the performance art and culture
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• no.33
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• pp.129-163
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• 2016

This study examines processes of cultural introductions and transformations among Korea, China and Japan via focuses on the formative characteristics of nasori(納曾利) masks belonging to komagaku (高麗樂), part of bugaku (舞樂), a Japanese court dance and music. Previous studies of traditional masks in East Asia focus on their dramatic characters and entertaining aspects. On the contrary, it approaches to their origins through the formative characteristics of komagaku nasori masks. Prince of Lanling, the representative togaku passed to Japan, and komagaku nasori perform a pair of toubu (答舞). One formative characteristic between Prince of Lanling and nasori masks is a dangling jaw (吊り顎). Masks having 'he' (へ)-shaped eyes like Japan's okina (翁) masks are characterized by a division (切顎) between the face and jaw, which is as same as the Korean masks. Other common grounds between Prince of Lanling and nasori masks are grotesque ghost faces and concentric double-circled eyes with their outlines painted gold. Concentric double-circled eyes prove that they spread to broader areas before the age of togaku and developed into a variety of divine-animal mask patterns. That Korean masks and nasori masks both have concentric double-circled eyes and dangling jaws is a significant starting point in studying the origin of traditional performing art in East Asia. Japan's bugaku has been passed down in shrines as part of folk religion. However, there exist in Korea no records or examples related to komagaku nasori masks introduced to Japan. This study provides some clues to comparison between Korean masks and komagaku nasori masks by focusing on the formative characteristics of the latter. The researcher suggests a new perspective to nasori mask dance by re-examining earlier Korean studies of the introduction of Daemyeonmu of Prince of Lanling to Japan through Shilla and the assumption of Nasori as Shilla music.

• Korean Journal of Mineralogy and Petrology
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• v.34 no.1
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• pp.1-14
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• 2021

The Unsang gold deposit has been one of the three largest deposits (Daeyudong, Kwangyang) in Korea. The geology of this deposit consists of series of host rocks including Precambrian metasedimentary rock and Jurassic Porphyritic granite. The deposit consists of Au-bearing quartz veins which filled fractures along fault zones in Precambrian metasedimentary rock and Jurassic Porphyritic granite, which suggests that it is an orogenic-type deposit. Quartz veins are classified as 1) galena-quartz vein type, 2) pyrrhotite-quartz vein type, 3) pyrite-quartz vein type, 4) pegmatic quartz vein type, 5) muscovite-quartz vein type and 6) simple quartz vein type based on mineral assembles. The studied quartz vein is pyrite-quartz vein type which occurs as sericitization, chloritization and silicification. The white mica from stylolitic seams of laminated quartz vein occurs as fine or medium aggregate associated with white quartz, pyrite, chlorite, rutile, monazite, apatite, K-feldspar, zircon and calcite. The structural formular of white mica from laminated quartz vein is (K0.98-0.86Na0.02-0.00Ca0.01-0.00Ba0.01-0.00 Sr0.00)1.00-0.88(Al1.70-1.57Mg0.22-0.09Fe0.23-0.10Mn0.00Ti0.04-0.02Cr0.01-0.00V0.00Ni0.00)2.06-1.95 (Si3.38-3.17Al0.83-0.62)4.00O10(OH2.00-1.91F0.09-0.00)2.00. It indicated that white mica of laminated quartz vein has less K, Na and Ca, and more Si than theoretical dioctahedral micas. Compositional variations in white mica from laminated quartz vein are caused by phengitic or Tschermark substitution [(Al3+)VI+(Al3+)IV <-> (Fe2+ or Mg2+)VI+(Si4+)IV] and direct (Fe3+)VI <-> (Al3+)VI substitution. The structural formular of chlorite from laminated quartz vein is((Mg1.11-0.80Fe3.69-3.14Mn0.01-0.00Zn0.01-0.00K0.07-0.01Na0.01-0.00Ca0.04-0.01Al1.66-1.09)5.75-5.69 (Si3.49-2.96Al1.04-0.51)4.00O10 (OH)8. It indicated that chlorite of laminated quartz vein has more Si than theoretical chlorite. Compositional variations in chlorite from laminated quartz vein are caused by phengitic or Tschermark substitution (Al3+,VI+Al3+,IV <-> (Fe2+ or Mg2+)VI+(Si4+)IV) and octahedral Fe2+ <-> Mg2+ (Mn2+) substitution. Therefore, laminated quartz vein and alteration minerals of the Unsan Au deposit was formed during ductile shear stage of orogeny.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.243-263
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• 2022

The royal court of Joseon had a tradition of mounting the Irworobongdo, a painting of the sun, the moon and the five sacred peaks, symbols of the king's immortal presence and authority, on a folding screen and placing it in special spaces within the palace that were reserved for the king. While the Irworobongdo is generally accepted as the important ceremonial object of the royal palaces of Joseon, there have been few studies on the various folding screens used in the royal palaces, largely because the official records about such screens do not match the remaining original relics. In this study, the main discussion is focused on the diversity of the shapes and mounting materials of the Irworobongdoused for various ceremonies held in the royal palaces of Joseon based on the Uigwe, the official records of the royal protocols of the Joseon dynasty. The discussion also extends to the theme rarely studied so far, namely the original form of the Irworobongdo and its evolution in the following period. The ceremonial "five peak" folding screens (Obongbyeong) used at a number of important palace buildings, including the crown hall (Jeongjeon), royal funerary hall (Binjeon), spirit hall (Honjeon) and portrait shrine (Jinjeon), differed in shape and size from the folding screens used in royal celebratory events such as banquets, although the paintings themselves and the style of mounting them were essentially the same. The paintings were mounted on screens bordered with green silk and ornamented with floral gilt designs. The folding screens used in royal ceremonies were produced according to strict guidelines that required the ceremonies and mounting materials to be graded on the basis of the status of each screen. It was not until the 1960s that these ceremonial folding screens of the Joseon dynasty, which had been neglected during the period of Japanese colonial rule of Korea, began to undergo conservation treatment provided as part of a heritage preservation program. Unfortunately, many of the screens repaired in this period lost some of their original features - largely due to the use of non-traditional mounting techniques. Considering, however, that significant achievements have since been made in the heritage preservation field based on the use of historical evidence, it is now necessary to systematically use the repair history of the information about the remaining royal ceremonial folding screens to ensure that they are preserved and managed more effectively in the future.

• Conservation Science in Museum
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• v.27
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• pp.147-164
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• 2022

Over 200,000 Korean cultural heritage items are currently located abroad. They have made their way to 22 countries under different circumstances and with unique backgrounds. While some of them continue to contribute to promoting Korean culture around the world, others cannot be exhibited due to damage or poor condition. In view of these circumstances, the Overseas Korean Cultural Heritage Foundation (OKCHF) has since 2013 provided museums and art galleries abroad with support for the conservation, restoration, and utilization of the Korean cultural heritage items that they house. As a part of these efforts and on the occasion of the 120th anniversary of the diplomatic relationship between the Republic of Korea and the Kingdom of Belgium in 2021, a gilt-bronze case for acupuncture needles dating to the Goryeo period (918-1392) from the collection of the Royal Museums of Art and History (RMAH), Belgium was brought to Korea for conservation treatment. The primary purpose of this conservation treatment was to restore the original form of the relic and slow to the degree possible the progress of corrosion. The conservation treatment of the gilt-bronze case followed the fundamental order of conservation treatment: removal of corrosive substances, stabilization, and reinforcement. Since this was the first case of restoring metallic cultural properties under the abovementioned support program by the OKCHF, special methodologies distinct from those available in overseas institutions were required. Diverse scientific methods (e.g., X-ray inspection, CT scanning, 3D microscopy) were applied to identify the metalcraft techniques used in the Goryeo period. The analysis found that several designs, including lotus and scrollwork, were exquisitely engraved on the surface of the case by making dots using a round-edged chisel. A bronze plate engraved with designs was rolled into a cylindrical form. The ends were overlapped by 2 to 3 centimeters and then attached to each other by silver soldering. The overlapping ends were welded flat with nearly no gaps. As the final process in the production, the case was lavishly gilt with gold powder using amalgam gilding. The conservation treatment of the gilt-bronze case for acupunctural needles in the RMAH collection restored the original form of the relic and arrested further corrosion. Above all, it revived the historic and academic value of the overseas Korean cultural heritage through scientific analysis.