• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.1
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• pp.115-131
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• 2020

Through literature research and field investigation, this paper attempts to study the distribution, morphology and the typification of the visual and perceptual stone inscription in Wuyi-Gugok of China. The results are as follows: First, there are 350 stone inscriptions in total from the 1^st Gok to 9^th Gok in Wuyi-Gugok. Second, according to the analysis of the stone inscription distribution, 74(21.2%) stone inscriptions in the 5^th Gok, 67(19.2%) in the 6^th Gok, 65(18.6%) in the 1^st Gok, 60(17.2%) in the 2^nd Gok and 53(15.2%) in the 4^th Gok are confirmed. The above five Goks contain 319(91.1%) stone inscriptions, so they have rich cultural landscape. Third, according to the survey, the number of the stone inscriptions existed in the Sugwangseok of the 1^st Gok are 41(22.6%), in the Homagan of Cheonyubong of the 6^th Gok are 29(8.3%), in the Jesiam of the 4^th Gok are 23(6.6%), in the Nyeongam of the 2^nd Gok are 22(6.3%), in the Hyangseongam of the 6^th Gok are 21(6%), in the Unwa of the 5^th Gok are 19(5.4%), in the Bokhoam of the 5^th Gok are 18(5.1%), in the Eunbyeongbong of the 5^th Gok are 17(4.9%), in the Daejangbong of the 4^th Gok are 14(4%), in the Daewangbong of the 1^st Gok and the Geumgokam of the 4^th Gok are 12(3.4%). Thus, a total of 228 (65.1%) stone inscriptions are concentrated in these 11 sites, which represent the popularity and cultural value of these rocks. Fourth, the stone inscription of Wuyi-Gugok, praising the landform and topographical geological landscape of Mount Wuyi, mainly describe the scenic name of each Gok related to Zhu Xi's Gugok culture, appreciate Zhu Xi's tracks and the stone inscription in the sacred land of Neo-Confucianism culture, and also record the Confucian edification of mencius thoughts, Muigun(武夷君) and the myths and legends related to the site names of Wuyi mountain, which can remind people of the worldview of the celestial paradise where the gods live and the fairyland of the land of peach blossoms. In addition, it indicates that the historical and cultural landscape, which is full of colorful history and myths and legends, including allusions related to Confucian, buddhist and Taoist celebrities and the ancestor ancient things related to traditional culture of China is very diverse. Fifth, the results of the classification, based on the content of the stone inscription in Wuyi-Gugok, are classified as the scenery name inscription, the praise scene inscription, the recording travel inscription, the recording event inscription, the philosophy inscription, the expressing emotion inscription, the religion inscription, the inscription for auspiciousness, the slogan and expressing ambition inscription and the official document notice inscription, among which there are 102(29.1%) praise scene inscriptions, 93(26.6%) scenery name inscriptions and 61(17.4%) recording travel inscriptions. The stone inscriptions of Wuyi-Gugok have the characteristics of the special emphasis on scenery names, landscape praise and commemorative tours. Sixth, the analysis of the intertext between the 「Figure of Wuyi-Gugok」 and Wuyi-Gugok rock letters, in the study found that the method of propagation between media was mostly the method of propagation of quotations and maintained intermedia through extension, repetition, extension, and compression.

• Journal of Conservation Science
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• v.28 no.1
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• pp.87-94
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• 2012

This study was focused on digital restoration and surface depth modeling applying the three-dimensional laser scanning system of the Haeundae Stone Inscription. Firstly, the three-dimensional digital restoration carried out acquiring of point cloud using wide range and precision scanner, thereafter registering, merging, filtering, polygon mesh and surveyed map drawing. In particular, stroke of letters, inscribed depth and definition appearing the precision scanning polygon was outstanding compared with ones of the wide range polygon. The surface depth modeling completed through separation from polygon, establishment of datum axis, selection of datum point, contour mapping and polygon merging. Also, relative inscribed depth (5~17mm) and outline by the depth modeling was well-defined compared with photograph and polygon image of the inscription stone. The digital restoration technology merging wide range and precision scanning restored the total and detailed shape of the Stone Inscription quickly and accurately. In addition, the surface depth modeling visibly showed unclear parts from naked eye and photograph. In the future, various deteriorations and surrounding environment change of the Stone Inscription will be numerically analyze by periodic monitoring.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.48-67
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• 2013

This study was focused on the recognition of historical values and the establishment of conservation schemes for a Silla stone monument in Bongpyeong-ri, Uljin by combining the humanistic investigation of inscription reinterpretation and the scientific conservational diagnosis of deterioration. According to the investigation of inscription, a total of 13 letters were reconsidered compared to the preceding researches. Thus, the meaning and interpretation of previous inscription was partially changed. This monument is composed of gneissose leucogranite and the most suitable site as provenance of the stone would be the Jukbyeon seashore (2.1km). The site shows similar color, size and composition of minerals, gneissose structure and magnetic susceptibility as the Bongpyeong stone monument. This monument developed a structural crack (crack index 0.4) and a microcrack (crack index 2.0) along the gneissose structure. The horizontal strength is weaker than the vertical strength. Therefore, the cracks should be reinforced and treated. However, consolidating is not urgently needed because the total weathering grade by ultrasonic velocity shows the stage of moderate weathering(3,403m/s, 0.32). Also, the major problems of chemical deterioration are blackening (85.2%) with soil, iron oxide,rubbing mark, and salt crystals (17.3%) from the sea. Therefore, the contaminants and the salt crystals should be removed using pressure spray and pulp paper, while the application of poultice should be examined through clinical tests.

• Journal of Conservation Science
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• v.34 no.6
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• pp.525-538
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• 2018

Myazedi Quadrilingual Stone Inscription of Myanmar, inscribed to the World Heritage List in 2015, is a rare historical artifact which has an exact date of inscription. It is a written record that displays the history, religion, and culture of Myanmar. Since the surface of the Stone Inscription has been rubbed with ink many times during the process of making printed copies for interpretation and academic research, it has developed a serious stain problem. Therefore, scientific analysis of the stain and research on the treatment for its removal have been conducted. In particular, an experiment was conducted on stain removal using laser cleaning and chemical treatment. The stains are mostly ink dirt, which accumulated from previous ink-rubbing processes. In order to conduct the experiment under similar conditions, a sample with similar stain has been reproduced, and a set of different conditions for treatment was applied to the sample to determine an effective solution. Laser cleaning was found to be effective in removing stains from most samples. However, chemical treatment showed different results. The physical friction method using ethanol provided the best result. In conclusion, laser cleaning is an effective universally-applicable technique but chemical treatment with laser cleaning can be considered an alternative method in certain situations.

• Journal of the Korean Society of Food Culture
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• v.3 no.1
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• pp.7-16
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• 1988

An epigraph is an inscription mainly on a metal or stone monument, but some cases on bones or tortoise carapaces, ceramics, and coins. The '茶' inscriptions in 251 epigraphs in Korea are on 16 monuments, one tile, and one ceramic. By kingdom 5 belongs to shilla and 13 to Korea. The first '茶' inscription in on the Changsung-Tap of Borimsa Temple in Changhung-Kun, Chullanam-Do, which was established in 884 A.D. Religiously most of them are related to Buddism. Tea was most valued among valuables like gold, perlume, beads, etc. and so bestowed by kings. The study of epigraphs shows that our tea culture had most prospered diring the Kingdoms of Shilla and Korea.

• Journal of Conservation Science
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• v.35 no.4
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• pp.279-293
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• 2019

The stone lantern of the Damyang Gaeseonsaji temple site is a cultural heritage built during the Unified Silla period (AD 868). The reason for its value as a cultural property is due to wittern the background and the period created on inscription of the lamp stone engraved by letters. The stone lantern consists of two types of lithic tuffs for the 23 original properties, the replaced stones in 1991, and the biotite granite for its ground stones replaced in 2005. The lithic tuffs selected as the replacement parts in 1991 and 2017 have been examined and got to properties of hardly exposure moisture as well as very similar geochemical characteristics. There were various types of physical deterioration of the stone properties and structural cracks; in particular, on the northern side of the stylobates. Chemical and biological deterioration can be identified as black, white, and brown discolorations as well as by the presence of lichens, bryophytes, and herbaceous plants. In the evaluation of the physical properties of the stone lantern, the mean and maximum ultrasonic velocities were found to be similar in each direction. However, the lowest velocity on the east and south sides were found to be lower than those of other stone properties. It was found that physical damage to the stylobates resulted from water expansion in a freeze-to-thaw phenomena related to water content. Therefore, dismantling repair was carried out in the protection facility to restrict further water supply to the stone as much as possible.

• Korean Journal of Heritage: History & Science
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• v.48 no.1
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• pp.62-79
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• 2015

The Stele for State Preceptor Doseon and Seon Master Sumi of Dogapsa Temple in Yeongam was erected in the fourth month of 1653. It was made with stone obtained from Yeosan(present-day Yeosan-myeon, Iksansi), and contains an inscription - engraved in the spring of 1651 - commemorating the two priests. The project to erect the monument was led by eminent monks, including Gakseong and Sucho, with the support of royal patrons and powerful statesmen including Prince Inpyeong(1622~1658). This monument is thought to be the first of its kind to have a capstone in the shape of a 'dragon loop' handle of the kind traditionally attached to the top of a temple bell. Stone stelae with a dragon-loop-shaped capstone continued to be used by the royalty and nobility of Joseon until the 18th century. The inscription engraved on the rear face of the monument reveals that it was made by Jo Mal-ryong, a renowned stonemason who worked on stone monuments and figures for royal tombs in the mid-Joseon period. He is known as the only stonemason to have been awarded the third highest rank(Jeong-sampum) of government, including the posts of Grand Master(Tongjeong Daebu) and General(Jeolchung Janggun), as recorded in the inscription. The monument corroborates the prevalent view that he was the creator of monumental capstones of the highest aesthetic merit in Joseon, and provides valuable insights about the leading artisans who produced monumental stones for royal tombs in the 17th century. This particular monument is highly regarded as a valuable historical relic because of the detailed information contained in the inscription, including the dates, work processes, patrons and artisans related with its creation, and because it features outstanding workmanship by some of the greatest artisans of the period. The monument also provides important clues about the transition from the Buddhist monuments created under the auspices of the royalty and nobility of mid-period Joseon to the symbolic stone structures and figures made for the tombs of royalty and nobility.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.4
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• pp.11-31
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• 2019

Taking the painting, 「Landscape of the Jiuqu River in the Wuyi Mountain」 as the study object, which was produced in the middle of Qing Dinasty and collected by the British Library, this paper analyzes the scenery names recorded in the painting, and describes the landscape of the mountain, port and ships, architectural elements, civil elements, character, stone inscription and other scenery in the painting. The investigation results of the cultural landscape properties of each Gok are as follows: According to statistics, there are 28 architectural elements in the painting, including 7 pavilions (25%), 4 temples (14.3%), 3 Colleges and Taoist temple (10.7%), 2 Dowon(道院) and villages (7.1%); 29 civil elements, including 9 holes (31%), 6 Historical Sites (20.7%), 3 Stations(臺) (10.3%), 2 Ferries, 2 Bridges, and 2 Ponds (6.9%), 1 Garden, 1 Gate, 1 Mine(坑), 1 Well and 1 Remains(3.4%). These physical factors and civil factors are the important relics reflected the cultural landscape attributes of Wuyi-Gugok in the middle of the 18th century. Among the shape element in each Gok, the 1^st Gok have 12 shape elements(21.1%), the 5^th Gok 11(19.3%), the 4^th Gok 9(15.8%), the 9^th Gok 8(14%), the 3^rd Gok 7(12.3%), the 6^th Gok 4(7%), the 2^nd Gok 3(5.3%), the 7^th Gok 2(3.5%), and the 8^th Gok 1(2%). Through collation, it is found that the 1^st Gok, 5^th Gok and 4^th Gok have more prominent cultural landscape characteristics. In addition, according to the description of scenic spot types in 『Muisanji(武夷山志)』, there are 38 types of scenery description in the painting, of which, the three scenery of big rock, peak, small rock occupy the vast majority. This reflects the Danxia(丹霞) landform characteristics of Wuyi-Gugok. The cultural connotation of Wuyi Mountain expressed and contained in the painting is analyzed and interpreted, and it is found that the Jiuqu(九曲) River in the Wuyi Mountain has Neo-confucianism culture, Taoism culture, Buddhism culture, Tea culture and so on. In addition, among the 171 scenery names shown in the painting, there are altogether 7 stone inscriptions that are consistent with or have the same meaning as the rock inscriptions site, including 3 for inscriptions praising the landscape, 3 for philosophical inscription and 1 for auspicious language inscription, which is considered as the important basis for the mutual textuality between the pictures and the stone inscriptions.

• Publications of The Korean Astronomical Society
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• v.37 no.3
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• pp.35-47
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• 2022

This study investigated the stone Angbu-ilgu (scaphe sundial) of the Korea Meteorological Administration (KMA) and the Seoul Museum of History (SMH). Since the first Angbu-ilgu was produced in Korea in 1434 (the year of the reign of King Sejong), Angbu-ilgu has been reproduced with various materials. The upper surface of these two stone Angbu-ilgus symbolizes the horizon. On the hemisphere concave at the center of the horizon, the South Pole, the time line, and the season line are engraved. On the horizon of both the KMA and SMH Angbu-ilgus, the schematic, typeface, and composition of the inscription completely coincide with each other. In this study, it was estimated that the appearance of the KMA Angbu-ilgu, which was damaged at some point previously at least once, was similar to that of the SMH Angbu-ilgu, and this means that it is superficially similar with Treasure No 840, the stone horizontal sundial. In the concave hemisphere of both the stone Angbu-ilgus of the KMA and SMH, there are hour lines and 24 solar-term lines (13 line), and there is an intersection point where these lines meet the horizon, respectively. It can be verified that these intersections of these two Angbu-ilgus can be calculated as having a latitude of +37°39'15". The hour lines of the two stone Angbu-ilgus show that they were made after about 1900.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.160-175
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• 2013

There is the need to make a sharp distinction as regards JANGSEUNGs (Korean traditional totem poles) that are different in origin, history and function. This study is to identify the functions of the figures, as well as to trace stone JANGSEUNGs to their origins. In this regard, researched were conducted into the origins of JANGSEUNGs and their changes in history. There was a tradition in the GORYEO Dynasty (an ancient dynasty in the Korean Peninsula) that it erected JANGSAENGs (the archaic name of JANGSEUNGs) or allied stone figures within temples; especially, 'TONGDOSA GUKJANGSAENG SEOKPYO (a stone JANGSAENG that was erected by the royal command and is at the entrance of TONGDO Temple located in YANGSAN, South GYEONGSANG Province, South Korea)' functions as a stone monument rather than as a stone sign. In the engraved inscription, it is written that it should be erected in the form of PANA as before. 'PANA' refers to 'ZHONGKUI', a god in Chinese Taoism believed to exorcise devils that spread diseases. The inscription is to define the territory of TONGDO Temple. The article on HAN JUN GYEOM in a book 'WORAKGI (a travelogue on WORAK Mountain in North CHUNGCHEONG Province, South Korea)' written by HEO MOK makes it possible to guess the scale of GUKJANGSAENGs erected in DOGAP Temple. The stones, on which 'GUKJANGSAENG' or 'HWANGJANGSAENG' were engraved, are not JANGSAENGs but are demarcation posts. In the JOSEON Dynasty (the last dynasty in the Korean Peninsula) JANGSAENGs functioned as signposts. Unlike JANGSAENGs in temples, they were made of wood. At first, the word 'JANGSAENG' was written '長生' in Chinese characters, but in the JOSEON Dynasty another character '木 (wood)' was added to them, and thus the orthography was likely to change into 'JANGSEUNG.' In the JOSEON Dynasty, in addition, optative or geomantic figures were not called 'JANGSEUNG.' Historically, for instance, there has been no case where 'DOL HARBANGs (stone figures found only in JEJU ISLAND, South Korea)' are called 'JANGSEUNG.' In a book 'TAMRA GINYEON (a historical record on JEJU Island, South Korea)' it is written that KIM MONG GYU, JEJU governor, erected ONGJUNG Stones outside the fortress gate. ONGJUNG Stones usually refer to stone statues erected in front of ancient kings or dignitaries' mausoleums. Moreover, they were geomantic figures erected to suppress miasma. A magazine 'GWANGJUEUPJI (a journal on old GWANGJU, South Korea, 1899)' shows that two two ONGJUNG Stones were so erected that they might look at each other to suppress miasma from a pathway through which lucks lose. On the two stone figures located in BUAN-EUP, North JEOLLA Province, South Korea, inscriptions 'SANGWON JUJANGGUN' and 'HAWON DANGJANGGUN' were engraved. The words are to identify the figures' sexes. They are a kind of optative geomantic figures, and therefore there is no reason to call them 'JANGSAENG' or 'JANGSEUNG' or 'DANGSAN.' The words 'SANGWON' and 'HAWON' are closely associated with Taoism. Since then, the words have been widely used as inscriptions on stone figures in temples, and subsequently are used for JANGSEUNGs. A hatted ONGJUNG Stone, found in BUKANSAN Fortress, disappeared and other ones may be being buried somewhere. Meanwhile, ONGJUNG Stones in JEJU Island and stone figures in BUAN-EUP have hardly been displaced and thus have properly functioned. Stone figures, made in those days, seem to be most similar in function to JANGSAENGs made during the GORYEO Dynasty. Specifically, like earlier JANGSAENGs, stone figures made during the early to mid-18th century were likely to function not only as optative figures but as boundary stones. Most of stone figures in temples were made whenever the land use survey was conducted throughout the nation, but given that at the same period of time, the commonalty filed many lawsuits against grave sites, temples might erect many stone figures to mark their territories. Currently, wooden or stone figures are commonly called 'JANGSEUNG', but they were erected in different epochs and for different reasons. Their origins are to be sought in stone figures that functioned not only as optative figures in temples but as boundary stones during the GORYEO Dynasty.