• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.66-81
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• 2014

Burnt down during the Imjin War(壬辰倭亂) of 1592, Gyeongbokgung Palace(景福宮) remained in ruins until 1865, when in the second year of King Gojong's(高宗) reign, reconstruction work began. At the time, a royal protocol(uigwe, 儀軌) for the reconstruction was not produced. Instead, the Gyeongbokgung Palace Construction Diary(Gyeongbokgung yeonggeon ilgi, 景福宮營建日記) records the reconstruction process from June to September of 1865. The contents of this diary reveal that the stone used in the construction was obtained from Ganghwa(江華), the Yeongpung field(映楓亭) just beyond Dongdaemun, and Samcheongdong(三淸洞), among other sites. In addition, selected stone remaining from the original Gyeongbokgung Palace site - such as that from the palace astronomical observatory(ganuidae, 簡儀臺) - as reused, while a number of buildings and stonework from Gyeonghuigung Palace(慶熙宮) were moved to Gyeongbokgung Palace. As a result, a number of $17^{th}$ and $18^{th}$ century stonework are currently located at Gyeongbokgung Palace. The Gyeongbokgung Palace Construction Diary contains a record indicating that the bronze dragon(靑銅龍) excavated from the lotus pond at the palace's Gyeonghoeru Pavilion(慶會樓) was created by special technician byeolganyeok(別看役) Kim Jae-su(金在洙) in 1865 for the symbolic purpose of protecting the palace from fire. The diary also reveals that among Kim Jae-su and the other special technicians(byeolganyeok) tasked with the installation and oversight of the palace stonework was Lee Se-ok(李世玉) - aid to have created the haechi statue at Gwanghwamun Gate. This indicates that there were men of court painter(hwawon, 畵員) background among the construction special technicians(byeolganyeok). Moreover, the diary records the names of the stoneworkers(seokjang, 石匠) who worked under these special technicians to actually carve the stonework. These included Jang Seong-bok(張聖福), who participated in the creation of the Geunjeongjeon Hall(勤政殿); and Kim Jin-myeong(金振明), who took part in the construction of Gwanghwamun Gate(光化門). Based on these results, it is possible to identify a number of special iconographic features of the scale-covered animal form(insuhyeong, 鱗獸形) auspicious animal statues at Gyeongbokgung Palace. These include a protruding mouth and large nose, formalized ears, and a mane along the back. Comparing these iconographic features with those found in the stonework of Joseon tombs makes it clear that these palace statues were created in the latter half of the $19^{th}$ century - the period corresponding to Gojong's palace reconstruction. This study was able to confirm that this iconography was taken up by the Gyeongbokgung Palace construction special technicians(byeolganyeok) and stoneworkers(seokjang) as they worked on tomb stonework earlier in their careers.

• Korean Journal of Heritage: History & Science
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• v.50 no.3
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• pp.110-125
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• 2017

The purpose of this study is to investigate the constructional facts and the operational features of Hamchunwon(含春苑), a wonyu(苑?, a royal garden) constructed in Dongbu(Eastern District) of the capital city of Hanyang. As the living quarters of the queen dowagers were scheduled for relocation after the construction of Changgyeonggung Palace(昌慶宮) during the reign of King Seongjong(成宗), it is presumed that the screening tree planting project discussed around tongmangcheo(通望處, a place allowing open view) was the original form of Dongbu Hamchunwon. Dongbu Hamchunwon was a longitudinal royal garden built in the area across the section from Wolgeunmun Gate(月覲門) to Seoninmun Gate(宣仁門), which were both attached to the east side walls of Changgyeonggung Palace. The area corresponds to the west side area of the newly built main building of Seoul National University Hospital today. During the Joseon Dynasty, only royal gardens built within a palace were referred to as geumwon(禁苑, a palace garden). But Dongbu Hamchunwon which was built outside a palace was recognized as a symbolic and hierarchical space comparable to geumwon. The site location of Donbu Hamchunwon was an important place that corresponded to Naecheongnyong(內靑龍) according to Hanyang's geomancy, and large-scale public works were prohibited in order to protect the vein of Naecheongnyong. During the reign of King Injo(仁祖), part of Dongbu Hamchunwon was partitioned as a ranch. The area around the ranch was called Madongsan(馬東山) and Bangmawon(放馬苑) and was an open space used for rest and pleasure (amusement). In the early days of Hamchunwon's construction, fast growing trees were planted to screen the view to Changgyeonggung Palace. However, after the construction of Gyeongmogung Shrine(景慕宮), a broad scale tree planting project was undertaken to complement Naecheongnyong's vapor of the earth. In particular, after the construction of Yugeunmum Gate(?覲門) and Yucheommun Gate(?瞻門) during the reign of King Jeongjo(正祖), Dongbu Hamchunwon functioned as a key point on the King's progress for paying respects to the ancestors, which followed the route of Palace(Changgyeonggung)-Wonyu(Hamchunwon)-Ancestral Shrine(Gyeongmogung).

• Korean Journal of Heritage: History & Science
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• v.47 no.4
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• pp.224-243
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• 2014

This study examined the materials and casting technology(cast, alloy, etc.) used in the manufacturing of bronze artifacts based on old literature such as Yongjae Chonghwa, Cheongong Geamul, and The Korea Review. In the casting experiment for restoration of Sangpyong Tongbo, a bronze and brass mother coin mold was made using the sand mold casting method described in The Korea Review. The cast was comprised of the original mold plate frame, wooden frame, and molding sand. Depending on the material of the outer frame, which contains the molding sand, the original mold plate frame can be either a wooden frame or steel frame. For the molding sand, light yellow-colored sand of the Jeonbuk Iri region was used. Next, the composition of the mother alloy used in the restoration of Sangpyong Tongbo was studied. In consideration of the evaporation of tin and lead during actual restoration, the composition of Cu 60%, Zn 30%, and Pb 10% for brass as stated in The Korea Review was modified to Cu 60%, Zn 35%, and Pb 15%. For bronze, based on the composition of Cu 80%, Sn 6%, and Pb 14% used for Haedong Tongbo, the composition was set as Cu 80%, Sn 11%, and Pb 19%. The mother coin mold was restored by first creating a wooden father coin, making a cast from the wooden frame and basic steel frame, alloying, casting, and making a mother coin. Component analysis was conducted on the mother alloy of the restored Sangpyong Tongbo, and its primary and secondary casts. The bronze mother alloy saw a 5% increase in copper and 4% reduction in lead. The brass parent alloy had a 5% increase in copper, but a 4% and 12% decrease in lead and tin respectively. Analysis of the primary and secondary mother coin molds using an energy dispersive spectrometer showed that the bronze mother coin mold had a reduced amount of lead, while the brass mother coin mold had less tin. This can be explained by the evaporation of lead and tin in the melting of the primary mother coin mold. In addition, the ${\alpha}$-phase and lead particles were found in the mother alloy of bronze and brass, as well as the microstructure of the primary and secondary coin molds. Impurities such as Al and Si were observed only in the brass mother coin mold.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.240-253
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• 2019

Archaeological heritages are precious cultural relics and public assets that must be preserved, conserved, and shared with people all over the world. Investigating archaeological heritage is valuable and plays an important role for the public good; our ancestors' cultures can be restored, and it helps with developing a clear understanding of the cultural and social aspects of a historical period as well as teaches about historical factors unreported in the literature. One of the most basic and important conditions necessary for recognizing the value and importance of archaeological heritage investigation, expertise, and quality improvement is to establish detailed criteria for investigation services and the qualification examination of archaeological heritage. Observation of detailed criteria and the qualification examination of archaeological heritage can partially demonstrate society's recognition of strengthening transparency, public property, and the objectivity of the investigation of archaeological heritage. However, the detailed criteria for investigation services and the qualification examination of archaeological heritage currently implemented as administrative rules are neither followed by all institutes in the public and private sectors nor the government. Thus, there are serious problems in terms of the effectiveness and stability of institutions. The detailed criteria for the qualification examination breach the principle of statutory reservation, the principle of statutory regulation, and regulations on the announcement and management of orders and rules. Non-compliance with compensation criteria for investigation services or with detailed criteria for the qualification examination of archaeological heritage will be one of the reasons for the failure of the investigation foundation for archaeological heritage in the future. That is, it will result in the expansion, reproduction, and repetition of a vicious cycle of conflict between developers, who are the decision-makers responsible for selecting an investigating organization for archaeological heritage and determining the cost, and investigating organizations. This includes the impractical shortening of investigation periods and reducing costs by developers, distrust of the values and the importance of investigations of archaeological heritage, a decrease in quality, accidents caused by a lack of safety, a lack of occupational ethics, and non-recruitment of new experts, etc. Therefore, it is necessary to change the structure from a vicious cycle to a virtuous cycle, and promote the enactment of regulations that will ensure effectiveness and stability in the process of attaining the goals of the institution and application of the institution, as well as the continuous advancement of work to fill the gaps with reality.

• Korean Journal of Heritage: History & Science
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• v.50 no.4
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• pp.168-197
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• 2017

This paper considers two aspects of the wooden chamber tombs with stone mound that were constructed in Wolseong North Burial Ground, in Gyeongju: tomb form and the group tomb complex. The basic unit of a wooden chamber tomb with stone mound consisted of a single round mound, covered with an additional earthen layer and surrounded by a circle of protective stones, within which a single wooden chamber was located. The form of a wooden chamber tomb with stone mound could therefore 1) be round, consisting of a single tomb unit, 2) consist of two or more attached tomb units, 3) or consist of multiple attached chambers in a single mound. The single tomb contained the burial of a single individual, and the attached tomb contained two or more individuals who were blood relations or connected by marriage. Multiple attached chambers tombs usually consisted of wooden chamber burials of the lowest rank, and have only been identified in the royal burial area of Wolseong North Burial Ground. At the Jjoksaem Area of Wolseong North Burial Ground, which is currently, under investigation, tombs have been found in small clusters along the slightly raised ground. This is likely the result of small groups of kin relations, upon selecting points along the slightly raised ground as their burial area, having constructed midsized and large single tombs and attached tombs along the axis of the slightly raised ground, which were then surrounded by smaller 'satellite' tombs. It is through this process that the tomb complex of the different groups came to be formed. The tombs of the royal burial area of Wolseong North Burial Ground, including the Daereungwon Tomb Complex, also formed group tomb complexes. Forming the centers of the group tomb complexes of the royal tomb area were huge individual round tombs where the Maripgan rulers were laid to rest or a gourd-shaped dual mound tomb, which was the final resting place of the king and his queen consort. These central tombs were surrounded by large and smaller tombs. Of the individuals that were buried in the group tomb complexes, there would have been individuals that were of equal status or social position, such as husbands and wives or blood relations, but it is unlikely that all of the buried individuals were related by blood, given the significant difference in the sizes of the tombs. It is likely that the individuals buried in the lower ranked tombs included in the group tomb complexes were 'dependents' of the deceased of the central tomb and his or her direct family who maintained a subservient relationship. Such tomb forms and group tomb complexes that can be observed amongst the wooden chamber tombs with stone mounds of Wolseong North Burial Ground provide insights into the nature of the social groups of the Silla center during the Maripgan Period. It is hoped that future studies undertaking a more detailed analysis of the data may make further contributions to unveiling the various aspects of Silla society.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.84-107
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• 2018

Cheommojik is a pile cloth, a type of textile whose surface is covered with short piles. The term chaedam was used during the late Joseon dynasty to refer to pile cloth rugs, while the terms yoongjeon, dantong and yangtanja were used in the early twentieth century. Various documents, newspaper articles and photographs confirm that pile cloth rugs were used by the general public as well as the royal family from the late Joseon dynasty onward, and that there were domestic manufacturers of such rugs at that time. This study investigated six pile cloth rugs that were produced after the late Joseon dynasty, five of which feature Persian knots made of cut pile, the other being made with the loop pile method. The cut pile rugs are rectangular in shape and measure between 72-98cm by 150-156cm; and they are decorated in the middle with patterns of butterfly, deer, and tiger or the ten longevity symbols, and along the edges with patterns composed of 卍 symbols. The ground warp of all six rugs are made from cotton yarn, while the ground weft is made of cotton yarn on three pieces, wool on one piece and cotton and viscose rayon. The ground weft yarn from four pieces are Z-twist yarn made with two or more S-twist cotton yarn. Four to six colors were used for the pile weft, all being natural colors except for red. Two or more S- or Z-twist yarn were twisted together in the opposite twist for the pile weft, with the thickness determining the number of threads used. Six or more weft threads were used to make the start and end points of the rug; and the ground warp ends were arranged by tying every four of them together. For the left and right edges, three or more threads were wrapped together into a round stick-like form, and the second and third inner ground warps from the edges were stitched on to the wrapped edge. For the loop pile, loops were made in the direction of the warp; the ground warp and the ground weft may have been made with cotton, the pile warp with wool yarn. An analysis of the components of three rugs was conducted to determine which types of animal hair were used for the pile weft. Despite some inconclusive results, it was revealed that goat hair and fat-tailed sheep hair were used, raising the possibility that various kinds of animal fur were used in the production of pile cloth rugs. The six rugs examined in this study are estimated to have been made between the late 1800s and the early 1900s. Although the manufacturer of the rugs cannot be confirmed, we concluded that the rugs were produced in Korea after referring to the documentation of the domestic production of pile cloth rugs during the aforementioned period and the form and placements of the patterns on the rugs.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.116-133
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• 2014

The memorial stones of Sumanotap were known to have been sequentially produced in 1719, 1773, 1874, 1653, 1874. However, after examining the chronological era (年號) and sexagesimal cycle (干支), it was found that the second and fourth memorial stones were both recorded in 1713. The reason why the records of the same period were divided into two is assumed that since the subject to repair was divided into main structure and flagpole of the temple, and it was recorded per each monk in charge and donator. On the fifth tablet of the memorial stone of Sumanotap contains all the names of monks who were in charge of repairing Sumanotap as well as the names of common donators. These people are not verified in detail though, through comparing the Buddhist names on the third memorial stone with Buddhist paintings and painting records, 12 monks were identified to be in the same names. Generally, they were active in Gangwon province, Gyeongsang province, Seoul and Gyeonggi province in the late 19th century and even after the Sumanotap repair, they took up other duties of various temples. The most notable name among the donators recorded in the memorial stones of Sumanotap was Kim Jwageun. He was the donator for the chest of gold and silver that was enshrined in the pagoda in 1874. His name was recorded with Mrs. Yang from Cheongsin and, at that time, was known just as a donator. However, actually, the donator was not Kim Jwageun but his mistress Mrs. Yang who used to be a gisaeng, called Na-hap and was from Naju. Kim Jwageun deceased in 1869 already. It is exceptional that Mrs. Yang who were the mistress of the prime minister Kim Jwageun personally participated in the Buddhist event in which king, queen, mothers of king and queen, noblewoman participated. Besides, the event of Sumanotap repair was carried out by royal family in order to celebrate the hundredth day of the prince, Sunjong and his grandfather, Heungseon Daewongun did not participate for political reason. In this situation, the domination of Mrs. Yang is considered remarkable. Meanwhile, the temples that frequently appeared among the 10 temples recorded in the memorial stone of Sumanotap are Gakhwa-sa temple in Bonghwa-gun, Gyeongsangbuk-do and Bodeok-sa temple in Yeongwolgun, Gangwon-do. Gakhwa-sa temple was a temple where the historical achievements were kept so was under the government's control. Bodeok-sa temple was the buddhist temple praying for the soul of the Danjong buried in the tomb and was managed by the government. Therefore, the face these two temples participated in the Sumanotap repair proves that Sumanotap was repaired by the supports form these two temples and the stature of Sumanotap at that time was as high as the temples where the historical achievements are store or the royal buddhist temples for praying for ancestors' souls.

• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.190-205
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• 2016

Buddhist stupas, which are a symbolic architecture of Buddhism and enshrine the Jinsinsari of Buddha, were reinvented as stone stupas appropriate for the natural soil of Korea from existing wooden stupas around the 7th century after the introduction of Buddhism. Later, the construction of a stone stupa was expanded to local areas from the central area around the 9th century; thus, stone stupas of more diverse local colors were built in a nationwide scale, and today it is called a "country of stone stupas". While focusing on the stylistic interchanges between stone stupas, which were established in each region in accordance with the localization of the establishment of stone stupas that was begun actively from the 9th century, this paper selected several cases of stone stupas among about 50 stone stupas in the Gangwondo-region. First, the study compared the stone stupas and Buddhist priest tower of Seollimwonji, Jinjeonsaji, and Geodonsaji, which are located at the same temple site as the current Buddhist priest tower, from among typical Silla style stupas that match the 9 stone stupas in the Gangwon-do region. This is because stylistic interchanges were possible while there were mutually organic relationships between Buddhist statues such as stone stupas, Buddhist priest towers, stone lanterns, and Buddhist pedestals, which used the same stone material along with the expansion of Buddhism to local areas in accordance with the spread of Zen Buddhism in the 9th century. Second, a comparison was made of the stylistic similarities between the Woljeongsa Palgakgucheong (eight sides nine-storied) stone stupa and the Sinboksaji Samcheung (three-storied) stone stupa, which are totally different in regard to the number of stories and the flat form. These two stone stupas are representative Goryeo stone stupas. The Woljeongsa stone stupa is a Goguryeo-oriented stone stupa with many sided multiple stories whereas the Sinboksaji stone stupa has been known as an early case of the insertion of the support of Tapsin in each story. Although the two stone stupas may look very different, but through close investigation it was confirmed that there were many stylistic interchanges between them and not only the seated stone Buddha statue in the cylinder jewel case in front of the stupa but also the stone stupa established by the same master. Consequently, this paper aimed not merely to mention the simple patterns of stone stupas, but, further, to trace the interchange in patterns in accordance with the construction period based on those patterns.

• Korean Journal of Heritage: History & Science
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• v.48 no.2
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• pp.64-81
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• 2015

The Treasure No.165 of Ojukhen is a separate house(別堂) which was still remained as a gentry house in the earliest day. The formative aspects have the important meaning as the history of Korean architecture. Specially the place is famous for Shin, Saim-dang(申師任堂) gave birth to Yulgok(栗谷) Yi, I(李珥). The house was built by one's family of Gangneung Choi clan(江陵崔氏) but Son-in-law inherited the house because there was the practice of inheritance by equal distribution and the mother of Shin, Saim-dang, Yongin Lee clan(龍仁李氏) inherited Gwon, Cheo-kyun(權處均) who was her hrandson under the condition of looking after the tomb. The reason why house name was Ojukhen is that Gwon, Cheo-kyun's another name is Ojukhen. Ojukhen is cultural properties which showed the change of practicing inheritance and ancestral rites. Ojukhen has the special relationship of one's grandson and did not have such of immediate family. This is because there were customs husband had to go to married woman's house and live there during short time. Yongin Lee clan and Shin, Saimdang has lived in the Ojukhen. Yongin Lee clan lived there after marrying. Shin Saimdang also spent a time of living her house after marrying and his son(Yi, I) was born in the place. Yi, I spent their time under Yongin Lee clan and one's mother's parents. Therefore he had a good relationship with his maternal grandmother. This is why his maternal grandmother became a descendant offering sacrifice to his ancestors. The reason why Gwon, Chen-kyun looked after the tomb of Yongin Lee clan was also Gwon, Hwa(權和) became sonin-law who lives with his wife's family. Ojukhen is the showcase of finding the marriage and living manage in the early Joseon Dynasty. The most village of Buk-Pyeong(北坪村) in the Gangneung called by Yi, I's one's mother's parents' home. Since after, the place was changed as the clan village immediate family of Andong Kwang clan(安東權氏) of Gwon, Cheokyun of Chumilgong family(樞密公派). After 17C, there were social historic changings focused on relative group. Ojukhen was the start of changing the clan village. Ojukhen is cultural properties which showed inheritance, relative, marriage in the turning point of Joseon Dynasty.

• Korean Journal of Heritage: History & Science
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• v.51 no.2
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• pp.4-21
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• 2018

This paper reviewed the legitimacy of the name of those sixteen pieces of hat artifacts known in Korean as pyeongjeongmo and currently housed by the National Palace Museum. This was undertaken in order to rectify the error of calling them pyeongjeongmo. Also, the paper suggested pyeongjeongmo's production method to apply representation of the artifacts or production of Joseon officials' hats as representation of ritual costumes in the royal court. The name pyeongjeongmo originated from pyeongjeonggeon. Gyeongguk Daejeon recorded that noksas wore yugak-pyeongjeonggeon and seoris wore mugak-pyeongjeonggeon, but the pyeongjeongmo artifacts housed in the National Palace Museum have been found irrelevant to those pyeongjeonggeons put on by both noksas and seoris. Rather, they has been confirmed as corresponding to dugeon or jogeon worn by byeolgams or suboks who served at the palace of the crown prince or princess. Through the investigation of the artifacts, the researchers could find out the tailoring and sewing methods, the finished look, and the folding manner of pyeongjeonggeon. Although the structure of pyeongjeonggeon was generally consistent, the frontal look was slightly different depending on the folding manner, resulting in three distinguished types of pyeongjeonggeon. Regardless, the pyeongjeongmo was made with one piece of fabric by a flat tailoring and folding method to create a three-dimensional hat. The finished shape appeared low in the front and high in the back side structure. The head girth was 55~59 cm, and the height was 19.4~21.5 cm. To make it with one piece of fabric, the head girth part was tailored in the same direction as the strands. Based on the artifact Changdeok 23820, this paper has also suggested a finished reproduction through the processes of preparing the materials, mounting, making the center ornaments, sewing and folding. The tailoring was completed with black silk fabric which was cut in a unique shape designed in advance, and hemp fabric which was mounted to the former. The top part of the head was finished with black threads, and the center line at the back was fixed with decolored cotton threads by blanket stitches with 3.5~4 cm intervals. Bamboo strands were inserted in the inside of the front-folded part, which then was fixed by patterned stitches with white cotton thread. At the back, a small bamboo clasp was attached so that one can lock it to the headband and prevent it from falling off.