• Conservation Science in Museum
• /
• v.30
• /
• pp.71-88
• /
• 2023

This paper examined the visible characteristics and chemical composition of glass beads from the Joseon Dynasty as well as the associations thereof. It also explored the characteristics and uses of glass beads by region. This study covered a total of 1,819 pieces excavated from 25 locations in the Gyeonggi, Chungcheong, and Gyeongsang regions, of which 537 pieces were analyzed for their chemical composition. Glass beads of the Joseon Dynasty take a variety of shapes such as a Round, Coil, Floral, Segmented, Flat, Oval, and Calabash. Colors vary from shades of brown (brown, lemon yellow) and shades of blue (Bluish-Green, greenish-Blue, Purple-Blue) to shades of white (colorless, white) and shades of green (Green, Greenish-Blue, Greenish-Brown). Brown accounts for the largest percentage, followed by Bluish-Green, greenish-Blue. It was identified that Drawing technique was the most common glass bead production technique of the Joseon Dynasty. Potassium oxide (K₂O) was the most common flux agent for glass beads, while the potash glass and mixed alkali glass groups account for the largest quantity. The choice of stabilizers depended on the type of flux agents used, but the most common were calcium oxide (CaO) and aluminum oxide (Al₂O₃). The potash glass and potash lead glass groups are high in CaO and low in Al₂O₃, the mixed alkali glass group is high in CaO, and the lead glass group is low in CaO. In terms of the association between color and shape, most of the beads with shade of brown and blue have round shapes of brown and blue have spherical shapes, while the coil shape is prominent in blue beads. A high percentage of green and colorless beads also take the shape of a coil, while white beads in general have a floral shape. In terms of the association between shape and chemical composition, round, floral and segmented shapes account for a high percentage of the potash glass group, while coil and flat shapes are common in the mixed alkali glass group. This paper also analyzed the colorants for each color based on the association between color and chemical composition. Iron (Fe) was used as the colorant for brown and white, and titanium (Ti) and iron were used for light yellow. Purple-Blue was produced by by cobalt (Co), and greenish-Blue, Bluish-Green, green, Greenish-Blue were produced by iron and copper (Cu). Colorless beads had a generally low colorant content.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.49 no.6
• /
• pp.64-79
• /
• 2021

In Korea, mountains constitute 60 percent of the total land area. For a long time, mountains have been deeply involved in people's daily lives, acting as a significant layer of culture. For those reasons, it would be meaningful to shed light on the values of the mountain culture of Korea and seek various ways to utilize them. Therefore, this study aims to explore Korea's mountain enjoyment culture, considering the mountain leisure in the Joseon Dynasty period, when the heritage of mountain enjoying culture was prevalent, and that of the present era. For the analysis, hiking records of the Joseon Dynasty and present-day hiking blog posts related to three famous mountains in Korea were examined. Findings show that people stayed in the mountains for a long time in the Joseon Dynasty, concentrating on the landscape deeply, and various academic and artistic cultures flourished there. In contrast, contemporary people regard the mountain merely as a space to access the peak and climb down quickly within a day. Therefore, the landscape of the mountain cannot be used as a cultural asset beyond natural scenery. However, there are several positive aspects to today's climbing culture. For example, it is easy to obtain information on climbing and feasible ways to conduct various sizes and concepts of hiking due to the development of technology and transportation. In order to develop Korea's unique mountain enjoyment culture in the future, we should propose a 'leisurely hike' that allows people to enjoy the mountain scenery fully and sublimating it into culture, rather than being hiking that is limited to climbing. In addition, it is essential to create suitable spaces, arranging them appropriately to utilize the history and humanities context of the mountain, and connect local facilities and the workforce, thereby causing the development of various mountain enjoyment cultures.

• Economic and Environmental Geology
• /
• v.6 no.4
• /
• pp.219-230
• /
• 1973

This paper reviews Professor O.J. Kim's work on "The stratigraphy and geologic structure of the Great Limestone Series in South Korea". Although he stated in his paper such as "very few geologists in Korea argue without confident evidences against the age and stratigraphy of the Great Limestone Series which have been rather well established previously in most parts of the regions", he disregarded the Jeongseon type of the Joseon (Chosen) System and modified the Yeongweol and the Pyeongchang types. According to his description, the Jeongseon type is not a different type and it is only due to structural repetition of the Hwajeol and Dumudong Formations of the Duwibong type and its Maggol Limestone. Also, he devided the Sambangsan Formation of the Yeongweol type into the east and west parts along the so-called Jeolgaesan fault, and they are correlated to the Hongjeom Series and Sesong Slate (Seison Slate) of Kobayashi, respectively. Furthermore he established newly Yeongweol type which includes the original Kobayashi's Yeongweol type and the Upper Limestone of the Pyeongchang type. Also, he pointed out that his newly established Yeongweol type is quite correlatable to the Duwibong type. The writer's opinion can be concluded that the Jeongseon type is not simply of structural repetition and structurely the Sambangsan Formation can not be devided into two parts. Also structurely there is no evidence of its correlation to the Sesong Slate as well as his conodont study in his Yeongweol type shows no indication of the correlation. The writer thinks that as to the stratigraphy of the Yeongweol and Jeongseon types of the Joseon System, it should be agreed with the Kobayashi's opinion or should be followed the idea of the very few geologists, he mentioned.

• Journal of the Korean Society of Costume
• /
• v.64 no.4
• /
• pp.162-175
• /
• 2014

This study focuses on Korea's traditional-style soryebok, in terms of its foundation, progression, and structural features. The research methods employed here include literature analyses of relevant laws and an official daily gazette, and practical analyses of artifacts and photographic documents. Especially, the artifacts of heukdannyeong(black uniform for officials with a round neck) in the form of chaksu(tight sleeves) were examined, which was regulated as soryebok in Eulmiuijegaehyeok. The term "soryebok" firstly appeared in "使和記略"(Sahwagiryak) written by Park Yeong-hyo, a foreign envoy to Japan, in 1882. Emperor's invitation written in the book asked him to wear daeryebok at the ritual and soryebok to the banquet. Soryebok was not adopted in Gapshinuijegaehyeok in 1884. However, several illustrated documents of the modern banquets at that time reveal that sabok, which was included in the 1884 reform, was used as soryebok. According to the Gapouijegaehyeok in December 1894, courtiers were required to wear heukdannyeong as daeryebok, and add juui(topcoat) and dapho(sleeveless coat) as tongsangyebok when they visited the royal palace. In Joseon's first daeryebok system, the term "tongsangyebok" that had been used in Japan was employed before soryebok was used. According to Eulmiuijegaehyeok in August 1895, the term "soryebok" originated from a costume ritual for courtiers of the Joseon Dynasty. Soryebok featured heokbannyeong chaksupo, samo (winged hat for officials), sokdae(belt), and hwaja (shoes for officials). There are around 24 artifact pieces of heukdannyeong in the form of chaksu(tight sleeves) in the following locations: garments of Prince Heungwangun and Wansungun, the court artifacts, Korea University Museum, Yun Ung-ryeol's family housed at Yonsei University, and Kyungwoon Museum. Artifacts have mu(godet) pulled back and a topcoat-like triangular mu. In conclusion, heukdannyeong, traditional-style soryebok has significance in the history of modern dress because streamlined traditional clothes and newly introduced Western dress system were able to be combined.

• Journal of Korea Technical Association of The Pulp and Paper Industry
• /
• v.42 no.4
• /
• pp.25-32
• /
• 2010

The beeswax-treated volumes of the Annals of Joseon Dynasty, designated as a UNESCO's Memories of the World, have been more seriously damaged than the untreated ones. As a continuous effort to develop the optimal conservation techniques for the damaged beeswax-treated volumes of the Annals, this study examines the effectiveness of wet cleaning on the conservation of the beeswax-treated paper. To do this, wet cleaning is performed on the duplicated beeswax-treated paper and the Hanji that are aged at $105^{\circ}C$ for 30 days using distilled water of $24^{\circ}C$ and $50^{\circ}C$. As results, it is observed that pH of the both the beeswax-treated paper and the Hanji increase, indicating the removal of the acid of the aged paper samples through wet cleaning. After the wet cleaning, however, the physical properties and viscosity of the Hanji decrease, while those of the beeswax-treated paper increase. It is also found that wet cleaning contributes to enhancement of most optical properties of the Hanji, but not for those of the beeswax-treated paper except for the $b^*$ value. Analyses of UV absorbance of cleaning water demonstrate that both the beeswax-treated paper and the Hanji have typical spectra of chromophore compounds of cellulose.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.10 no.1
• /
• pp.99-116
• /
• 2008

This study reviewed pertinent literature and examined relics of manggon(a headband worn to hold a man's topknot hair in place), donggot(a topknot pin), and chigwan(a topknot cover). Before the modernized short hair style, wearing a gat was an important custom. Therefore, manggon, which was used to hold a man's hair in place under the gat, was considered an essential part of the man's official dress code. Donggot is a pin that held the topknot hair in place. It was a must have for a married man, like the binyeo, a lod-like hairpin, for a married woman. Unlike gwanja, it had nothing to do with official rank, but materials were of a variety of materials, including jade and gold. The structure of the donggot was studied in three parts-head, neck and body. Major forms for the head include the mushroom, bean and ball. Bullet and half-cut bullet forms were also found. Forms for the neck include straight-neck and curved-neck. A neck with a belt around a double chin was also found. Forms for the body include the tetrahedron, octahedron and cylinder. The most popular form for silver and white bronze donggot heads was the mushroom, followed by bean and pile forms. Chigwan is also called chipogwan, chichoal, choalgyesogwan, noingwan and sangtugwan. In poetry it was called chichoal, and it used to be called taegogwan in the past as well. Chigwan was so small that it managed to hold a topknot. According to confucian custom in the Joseon period, by wearing chigwan, men didn't display their bare topknot even when they didn't dress up. When they went out, they wore another official hat over the chigwan.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.32 no.8
• /
• pp.1255-1263
• /
• 2008

Study on Hwal-ot, woman's wedding robe of the Joseon Dynasty, has been limited to the Princess Bock-on's Hwal-ot and some folk remains. In this study, I tried to identify formative characteristics of Hwal-ot by studying embroidery design patterns in the royal Hwal-ot. On Mar 26, 2007, I inspected total of 15 pieces of embroidery design patterns for Hwal-ot held at the National Palace Museum of Korea. I classified them into three types of Hwal-ot by considering characteristics in embroidery design patterns as well as composition of embroidery design patterns held by the private. For the Hwal-ot embroidery design pattern type I, there is a calligraphy called "Embroidery Design Pattern of Red Long Robe for leo-dong Palace", which is presumed to be the embroidery design pattern of Princess Deok-on, the third daughter of King Sunjo and a little sister to Princess Bock-on. Its patterns are very similar to that of Princess Bock-on's, with similar flower patterns and treasure patterns, as well as overall stripy structure. The Hwal-ot embroidery design pattern type II maintains the same flower patterns and butterfly patterns as in the type I, but does not have the striped decorative. The Hwal-ot embroidery design pattern type III has illustrative design with waves and mountain at the background and a pair of water birds flying around lotus. In particular, the type III design has a nine phoenix pattern at the front part of the robe, illustrating nine baby phoenixes (four in the left, five in the right) under a mother phoenix, which is closer to characteristics found in the Hwal-ot embroidery design patterns at the end of the Joseon dynasty.

• The Journal of the Petrological Society of Korea
• /
• v.27 no.1
• /
• pp.67-72
• /
• 2018

The K-Ar ages of a sericite quartz schist in the lower Jangsan Formation along the Okdong fault zone reported by Yun (1983) have attracted attention again because of their potential to constrain the depositional timing of the Jangsan Formation. The oldest age of $562{\pm}2Ma$ among three reported K-Ar ages in the schist led to the claim that the depositional period of the lowermost Jangsan Formation in the Joseon Supergroup is late Neoproterozoic. Its depositional age is important for understanding the tectonic evolution of the Korean Peninsula including the formation and evolution histories of its sedimentary basins. Thus, the reliability and geological meaning of three K-Ar ages in the original paper (Yun, 1983) were revisited in the review. Quartz grains in the analyzed sample contain a considerable amount of excess Ar, and therefore it is inappropriate to use the ages as a basis for a depositional age constraint of the Jangsan Formation. The timing of mylonitization in the schist is recalculated as ~170 Ma.

• Journal of Conservation Science
• /
• v.32 no.4
• /
• pp.571-578
• /
• 2016

This study analyzed the pigments used in two portraits of Sim Hui-su using scanning electron microscopy/energy dispersive spectroscopy(SEM/EDS), X-ray diffraction(XRD) analysis, and microscopic observation, and then compared the results to those from nondestructive analysis. It was estimated that cinnabar/vermilion and minium were used for the red pigment, azurite for the blue pigment, atacamite for the green pigment, and lead white for the white pigment. These results were compared to the pigments of six portraits with a similar format, full-length official-attire portraits from the $17-18^{th}$ century Joseon period. It was revealed that the composition of the pigments used in the portraits varied depending on the date of production. Iron oxide, another red pigment, was used in the $18^{th}$ century. As for the blue colorant, smalt was used in the late $18^{th}$ century, whereas it was absent until the early $18^{th}$ century.

• Korean Journal of Acupuncture
• /
• v.27 no.2
• /
• pp.35-47
• /
• 2010

Objectives : Chim-Gu-Kyung-Heom-Bang(CGKHB; 鍼灸經驗方) is the needle and moxa specialized document written by the doctor specialized in needle and moxa treatment of Joseon(朝鮮), Heo Im(1570-1647). The document was published in April 1644(22nd year of King Injo). CGKHB contains the needle and moxa treatment techniques accumulated by the Joseon Dynasty as well as the personal experience of Heo Im. The aim of this study is to restore the past treatment method as a method of Needle Insertion Method at CV12(NIM-CV12, needle to penetrate blood vessel technique) in CGKHB.. Methods : Through Dong-Yi-Bao-Gam(DYBG; 東醫寶鑑), the implication of Korean medicine study of the Jungwan(CV12) has been studied. Next is the contemplation of the NIM-CV12 of CGKHB with the Acupuncture Treatment Using Jungwan(中脘鍼法) of Park Tae-won and Acupuncture Treatment for Byeokjeok(癖積鍼法) of "Geup Yubang". Results and Conclusions : 1. CV12 is one of the acupuncture points representing stomach(脾胃), middle energizer(中焦), phlegm-fluid retention(痰飮) and greater yin(太陰). 2. NIM-CV12 of CGKHB is the technique to penetrate the needle into the CV12 strictly relying on tactile sense of a person who give the penetration. This CV12 administration was carried out at intervals of every 7 or 8 day. During the administration period, the patient was not allowed to intake excessive amount of food. 3. The Acupuncture Treatment Using Jungwan(中脘鍼法) of Park Tae-won and Acupuncture Treatment for Byeokjeok(癖積鍼法) of "GeupYubang", existed in the same era of the NIM-CV12 of CGKHB, have similar linkage to the NIM-CV12 of Heo Im.