• Korean Journal of Heritage: History & Science
• /
• v.36
• /
• pp.267-297
• /
• 2003

The plain coarse pottery from the Unjeonri Bronze Age relic sites in the Cheonan, Korea were studied on the basis of clay mineralogy, geochemistry and archaegeological interpretations. For the research, the potteries are utilized at the analysis for 6 pieces of plain coarse potteries. Color of the these potteries are mainly light brown, partly shows the yellowish brown to reddish brown. The interior, surface and inside of the pottery appear as different colors in any cases. Original source materials making the Unjeonri potteries are used of mainly sandy clay soil with extreme coarse grained irregularly quartz and feldspar. The magnetic susceptibility of the Unjeonri pottery range from 0.20 to 1.20. And the Unjeonri soil's magnetic susceptibility agree almost with 0.20 to 1.30. In the same magnetization of soil and pottery, the results revealed that the Unjeonri soil and low material of pottery are same produced by identical source materials. The Unjeonri potteries and soil are very similar patterns with all characteristics of soil mineralogy, geochemical evolution trend. The result seems to be same relationships between the behavior and enrichment patterns on the basis of a compatible and a incompatible elements. Consequently, the Unjeonri potteries suggest that made the soil to be distributed in the circumstance of the relic sites as the raw material are high in a greater part. In the Unjeonri soil, the kaolinite is common occurred minerals. However, in the Unjeonri pottery, the kaolinite was not detected in all broken pieces. The kaolinite was presumed to destroy crystal structure during the firing processes of over $550^{\circ}C$. The quartz is phase transition from ${\alpha}$-quartz to ${\beta}$-quartz at $573^{\circ}C$, but the Unjeonri pottery did not investigated any phase transition evidences of quartz. The chorite was detected within the mostly potteries and soils. As the results, the Unjeonri potteries can be interpreted by not experiencing a firing temperature over $800^{\circ}C$. The colloidal and cementing materials between the quartz and low materials during the heating did not exist in the internal part of the potteries. An any secondary compounds by heating does not appear within the crack to happen during the dry of the pottery. The hyphae group are kept as it is with the root tissue of an organic matters to live in the swampy land. In the syntheses of all results, the general firing condition to bake and make the Unjeonri pottery is presumed from $550^{\circ}C$ to $800^{\circ}C$. However, the firing condition making the Unjeonri pottery can be different firing temperature partially in one pottery. Even, the some part of the pottery does not take a direct influence on the fire.

• Journal of the Korean Society of Costume
• /
• v.65 no.6
• /
• pp.112-132
• /
• 2015

Banya was a concubine slave of Shindon(辛旽) who was a powerful monk in late Goryeo Dynasty, as well as the mother of King Woo(禑王), a successor of King Gongmin(恭愍王). This study was undertaken to investigate the sources of costume for Banya. The study focused on the features of Buddhist service costume, street wear, and daywear for common women's costume during the prime age of the Buddhist culture. The study looked into Buddhist paintings, old documents, advanced research, and relics. There are three characteristics of historically investigated Buddhist service costume for Banya: Dallyeongpo(團領袍), long Jeogori made with black Ra(羅), and Jeogori with a long scarf. Skirt, under Jeogori, under skirt, Cho, Ra(羅), Neung (綾), Dan(緞), patterned ramie(紋紵), and Tapja(塔子) were included in all Buddhist service costume. And, street wear consisted of Women's Dapho(婦人搭忽), long Jeogori, skirt, underwear and black Ra beil(蒙首). Daywear consisted of Banbi(半臂), long Jeogori, and skirt, underwear made with cheap fabric, Ju(綢), ramie, and imported cotton. Plumper hair, silver comb and Biyeo, lining of light pink-colored thin silk(小紅薄絹), bronze openworked ornament that fixed the outerwear's opening, bronze needle case, Sutra box and heated gemstone could be matched for the Buddhist service costume. Bronze and heated gemstone could be used for ornaments of street wear and daywear. The investigation of ornaments was carried on by referring to presentation of overseas collections. Considering the limitation of the study on Goryeo costume due to the lack of research material, future studies including much more relics in oversea collections needs to be undertaken.

• Journal of the Korean Society of Costume
• /
• v.22
• /
• pp.97-118
• /
• 1994

This stud is my second trial to examine the costume of Balhae Dyansty. The subject of this study is the costume of a bronze statue excavated in the Maritime Provinces of Russia. The bronze statue is in the custody of Vladivostok Museum E.V. Shavkunov a Russian archelogist reported it a statue of-ficial of balhae dynasty in the 7-8th century. Judged his report lack of basis I suggest new opinion on sex, age, married or unmarried. social position manufactured time of the statue by comparative study on the costume hair-style and appearance of the statue with around nations' antiquities. hair-style of the statue is basically included in Ssangge and complexed style of Sage Ssangsuhuange, and Guange, Generally, Ssangge is a hair style of children, unmarried women, court ladies, dancing girls, and instrument player (lady)s'. The statue wears round-necked blouse long skirt broad fabric belt at high waist broad sleeve and confront collar coat cloud shaped shawl and risen tip shoes. The figure of statue is de-scribed plump. The statue shows straight sil-houette and high waist typical style of Tang, Uddai, The most characteristic facto is cloud shaped shawl Cloud shaped shawl was originally one of the northern race's shoulder ornaments. From the view of Comparative study the antiquities of NamDang and JunChock are simi-lar to this statue. Besides Tsukanovka river where the statue was excavated is Kraskino ruins of a castle formed single cultural layer of Balhae Dynasty and are relics of the layer of Balhae Dynasty and are relics of the latter period of Balhae Dynasty. Therefore this statue is assumed to have been manufactured at the last years of Balhae Dynasty and to be a figure of unmarried woman not official.

• 한국문화재보존과학회:학술대회논문집
• /
• 2003.09a
• /
• pp.24-27
• /
• 2003

• 한국문화재보존과학회:학술대회논문집
• /
• 2003.09a
• /
• pp.81-81
• /
• 2003

• 한국문화재보존과학회:학술대회논문집
• /
• 2006.11a
• /
• pp.40-45
• /
• 2006

• 한국문화재보존과학회:학술대회논문집
• /
• 2007.10a
• /
• pp.85-86
• /
• 2007

• Journal of the Korean association of regional geographers
• /
• v.15 no.5
• /
• pp.604-615
• /
• 2009

The independent groups, which were scattered all over the Korean Peninsula in the bronze age, may be called 'walled-town states' rather than 'chiefdoms'. Gi-Back Lee, a famous Korean historian, argued that 'the walled-town state' rulers kept themselves safe by staying inside a mud-walled or wood-walled castle on a hilltop and they governed the farmers living in the surrounding plains. Among the twenty-one castle sites found in Jinju region, five are believed to be 'walled-town state' sites. Inside the castle are found no well sites. The average altitude of the five castles is 189.4m and the average length of their circumferences is 250m. Archeological excavation research on the castle sites is expected for more scientific conclusion on the 'walled-town states'.

• Journal of Conservation Science
• /
• v.8 no.1 s.11
• /
• pp.16-22
• /
• 1999

Species of 741 charcoal samples, which were excavated from the dwelling sites of the bronze age $(about\;2500\~3100\;B.P)$ at Hyeonwha-ri, Pyungteak, Korea, were identified. Most of samples were deciduous oaks (Quercus spp.; $97.7\%$) and others were alders (Ainus spp.; $1.9\%$) and soft pines (Pinus spp.; $0.4\%$). Tree rings of nine largest samples were also examined. The numbers of annual rings were 8 to 36 and mean ring width was rather narrow $(0.65\~1.82\;mm)$. Most samples possessed pith and tylosis. The results indicate that logs 10 to IS cm diameter had been used for the poles of houses without further processing.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.21 no.4
• /
• pp.81-96
• /
• 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.