• Title/Summary/Keyword: Stored Grain

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Suggestions of Stone Materials for Restoration of Gwanghwamun Woldae in Seoul Based on Lithological Study (암석학적 연구를 통한 서울 광화문 월대 복원용 석재 제안)

  • Myeong Seong Lee;Yu Bin Ahn;Se Rin Park;Myoungju Choie;Jiyoung Kim
    • Economic and Environmental Geology
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    • v.56 no.6
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    • pp.647-659
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    • 2023
  • This study is to analyze the lithological similarities between railing stones of Gwanghwamun Woldae and stone blocks stored in Donggureung Royal Tombs, Guri, to interpret the provenance of the stones, and to suggest the most suitable quarry for a new stones supply among the rocks in the Seoul-Pocheon area in order to select stones for the restoration of the Gwanghwamun Woldae. The railing stones in Donggureung are medium to coarse-grained pink biotite granite, and their lithological characteristics, magnetic susceptibility(Average 5.20 ×10-3 SI unit), and gamma spectrometer data(K 5.00~6.38%, U 4.92~8.56 ppm, Th 27.60~36.44 ppm) show similarities with the remaining railing stones in Gwanghwamun Woldae(Average 5.38). Therefore, the railing stones in Donggureung can be reused for the restoration of Gwanghwamun Woldae. They have similar lithological and geochemical charateristics to the pink biotite granite found the Suraksan Mt. and Buramsan Mr. areas in Seoul, suggesting that these areas are the source of the stone. However, since the Suraksan Mt. and Buramsan Mt. areas are currently unavailable for quarrying, lithological and geochemical analyses on granite from the Yangju and Pocheon areas are conducted to determine the suitability of the new stone for restoration. As a result, a pink biotite granite similar to the Woldae stones was identified in the Pocheon area, and it is suggested that the stones similar in grain size and colour to the railing stones of Gwanghwamun Woldae should be selected and used for the restoration of Gwanghwamun Woldae.

A study on the production techniques and prototype of the mother-of-pearl chrysanthemum pattern box from the Goryeo Dynasty (고려 나전국화넝쿨무늬상자의 제작기법 고찰 및 원형 연구)

  • LEE Heeseung;LEE Minhye;KIM Sunghun;LEE Hyeonju
    • Korean Journal of Heritage: History & Science
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    • v.57 no.1
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    • pp.126-144
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    • 2024
  • The chrysanthemum vine pattern box from the Goryeo Dynasty expresses in great detail the representative features of Goryeo Dynasty lacquerware with mother-of-pearl, such as engraving patterns on the surface of fine mother-of-pearl, expressing vine stems using metal wires, and twisting metal wires to form the boundaries of each patterns. While the lacquerware with mother-of-pearl that remains today from the Goryeo Dynasty has the form of a sutra box and a box with lid, the chrysanthemum vine pattern box that is the subject of this study is in the shape of a box with a separate lid and body, making it difficult to estimate the purpose of production or the stored contents. In this study, we attempted to confirm the formative characteristics of the chrysanthemum vine pattern box in order to confirm its original form, and to investigate its structure and production technique through X-ray transmission. In addition, we attempted to identify the use and production purpose of the box by classifying and comparing the previously known lacquerware with mother-ofpearl from the Goryeo Dynasty by type. As a result of the investigation, fabric was confirmed the bottom of body and inner box through X-ray images. Through this, it was confirmed that the 'Mogsimjeopichilgi'(wooden core grabbing fabric technique) of wrapping the object with fabric was used. And through wood grain, it was possible to confirm the wooden board composition of the part presumed to be the restored part and the part presumed to have had existing Jangseog. In addition, it was confirmed that the joints were connected in a Majdaeim(part to part). Based on the survey results, a total of 14 pieces, including 9 Sutra boxes, 3 boxes, and 2 small boxes, that remain from the Goryeo Dynasty were classified by type and examined for similarity. Among them, there is a "Chrysanthemum Vine Pattern Sutra Box" from a private collection in Japan, a "Black Lacquered Chrysanthemum Arabesque Bun Sutra Box" from the Tokugawa Art Museum, a "Sutra Holder" from the British Museum, and a "Small Box with a Mother-of-Pearl Chrysanthemum Vine Pattern" from a private collection in Korea. The pattern composition of five points was most similar to the subject of this study. As a result of comparing the damage pattern, formative characteristics, and structural features of each part, it is presumed that the sutra holder in the British Museum was transformed into its current form from the original the chrysanthemum vine patterned box. Lastly, in order to confirm the purpose of production, that is, the use of this box, we investigated examples of Tripitaka Koreana printed version produced at a time similar to the social atmosphere of Goryeo at the time. Following the Mongol(元) invasion after the Goryeo military regime at the time, sutras appeared to pray for the stability of the nation and the soul of an individual, and with the development of domestic printing and paper in the 13th century, it gradually coincided with the transition from a scroll to a folded form, and the form of a box changed from a box. It is believed that the storage method also changed.