• Journal of Conservation Science
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• v.30 no.1
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• pp.39-53
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• 2014

The decorative painting at court was practical and functional role by decorated the inside and outside of palace. Especially, the type of the Painting of sun, moon and five peaks and Heavenly peach were the one of representative decorative paintings, produced for authority of king and longevity wish. However, there are not clarify verification of production period and installation place in the Painting of sun, moon and five peaks and Heavenly peach, that made before $19^{th}$ century, in present. Therefore, this study has a meaning on find production period, installation place and techniques of paint through conservation scientific research of the Painting of sun, moon and five peaks and Heavenly peach that introduced the first time in National Museum of Korea. Double side paintings in two-panel folding screen style and tortoise shell shape of window is the first time research in the decorative painting at court. This study also explain that they were installed in Hamin Jeong from ChanggyeongGungyeonggeon Dogam Uigwe(1834) through research of the original measurement, contrast of palace in present and Uigwe record. It will be contributed to a study of the Painting of sun, moon and five peaks and Heavenly peach in the early $19^{th}$ century.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.23 no.6
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• pp.103-108
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• 2023

This paper conveys the limitations of analog natural history sample information in digital form, giving viewers interest and fun, and presenting the direction of digital diorama utilization of sample exhibitions. In this exhibition, through various media such as 10,000 won bill dramas and newspaper articles, the Sun and Moon and Five Peaks, a picture familiar to the public, was reproduced in media art so that it can be realized in real life. It is a Joseon Dynasty work in which five mountain peaks, a pair of waterfalls, and four pine trees are drawn symmetrically from side to side. In order to express the vividness of nature, the symbols of the sun and moon were created with the effect of light to maximize immersion, and animals such as waves, crane movements, deer, ramie butterflies, and carp were inserted under the mountain peaks to create the vividness of nature and creatures playing in them. The media art folding screen was produced and directed as a screen. In addition, the introduction of the work and information related to the living things in the work were provided through QR codes.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.243-263
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• 2022

The royal court of Joseon had a tradition of mounting the Irworobongdo, a painting of the sun, the moon and the five sacred peaks, symbols of the king's immortal presence and authority, on a folding screen and placing it in special spaces within the palace that were reserved for the king. While the Irworobongdo is generally accepted as the important ceremonial object of the royal palaces of Joseon, there have been few studies on the various folding screens used in the royal palaces, largely because the official records about such screens do not match the remaining original relics. In this study, the main discussion is focused on the diversity of the shapes and mounting materials of the Irworobongdoused for various ceremonies held in the royal palaces of Joseon based on the Uigwe, the official records of the royal protocols of the Joseon dynasty. The discussion also extends to the theme rarely studied so far, namely the original form of the Irworobongdo and its evolution in the following period. The ceremonial "five peak" folding screens (Obongbyeong) used at a number of important palace buildings, including the crown hall (Jeongjeon), royal funerary hall (Binjeon), spirit hall (Honjeon) and portrait shrine (Jinjeon), differed in shape and size from the folding screens used in royal celebratory events such as banquets, although the paintings themselves and the style of mounting them were essentially the same. The paintings were mounted on screens bordered with green silk and ornamented with floral gilt designs. The folding screens used in royal ceremonies were produced according to strict guidelines that required the ceremonies and mounting materials to be graded on the basis of the status of each screen. It was not until the 1960s that these ceremonial folding screens of the Joseon dynasty, which had been neglected during the period of Japanese colonial rule of Korea, began to undergo conservation treatment provided as part of a heritage preservation program. Unfortunately, many of the screens repaired in this period lost some of their original features - largely due to the use of non-traditional mounting techniques. Considering, however, that significant achievements have since been made in the heritage preservation field based on the use of historical evidence, it is now necessary to systematically use the repair history of the information about the remaining royal ceremonial folding screens to ensure that they are preserved and managed more effectively in the future.

• Journal of architectural history
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• v.29 no.2
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• pp.39-52
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• 2020

Seonjeong-jeon, the semi-great hall in Changdeok Palace, was constructed in a highly formal and conservative style and accommodated official ceremonies. However, the contemporary modification of the building has distorted or eliminated features including the two side doors on the front, the floor coverings, and the throne base (Jwa-tap) that consisted the most significant part of the throne. Seonjeong-jeon originally had three doors that stood between each pair of columns on the front side, respectively. The courtiers accessed the building through the side doors, while the central door was exclusively designated for the king. However, the renovation in 1999 ignored the political context of the architectural form of the building and changed the side doors into windows, damaging the traditional structure inherited from the early Joseon Dynasty. Although the building currently has traditional wooden floor structure (Woomul-maru), it was originally covered with square brick tiles (Bang-jeon) before the Japanese occupation, following the customs of early Joseon Dynasty. The throne was placed to the north of the central door and consisted of the throne base and a decorative roof (Dang-ga). A canvas (Jang-ja), which featured the royal symbolic painting of Sun, Moon, and Five Peaks, was also installed between the two columns that connected the base and the roof. Nevertheless, only the columns and the blank canvas remain nowadays after the removal of the base.

• Journal of Soil and Groundwater Environment
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• v.18 no.4
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• pp.19-31
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• 2013

To figure out the decay characteristics of naturally occurring radionuclides, eight sampled groundwaters from a monitoring borehole having high levels of uranium and radon concentrations in a two mica granitic area have analyzed by liquid scintillation counters (LSC) for over 1 year. In December 2011, three groundwater samples (DJ1, DJ2, DJ3) were obtained from each aquifer system located at -20 m, -40 m, -60 m of the monitoring borehole below the ground surface, respectively. Five samples (DJ4, DJ5, DJ6, DJ7, DJ8) were additionally gained from each aquifer positioned -20 m, -40 m, -60 m, -100 m, -105 m of the borehole in February 2012, respectively. Temporal variation characteristics of uranium and radon concentrations have showed over maximum 2.1 times and 1.4 times fluctuations of the values in the same sampling intervals over time, respectively. The intervals of -40 m and -105 m in the borehole have the highest values of uranium and radon concentrations, respectively. This may imply that the concentrations of naturally occurring radionuclides such as uranium and radon in groundwater have been changed over time and indicate that the qualities of groundwaters from the aquifers developed at each interval in the borehole are different each other. This discrepancy, moreover, could be caused by behaviour differences between uranium which is in ionic status having a half life of 4.6 billion years and is transported along with the flowing groundwater, and radon which is in gaseous status having a 3.82 day's half life in the aquifer systems. Physicochemical characteristics of groundwaters from the aquifer systems could be identified by the results of the on-situ measuring items such as pH and Eh, and the major ionic contents. The CPM values of eight groundwater samples analysed by LSC over one year have shown not to follow the theoretical decay curve of the radon. The CPM values of the samples have ranged from 2 to 7.5 after it had passed two months when the theoretical CPM values of the radon started zero since the initial analysis. Alpha and beta particle spectrums have shown the peaks of radium-226, however they have not revealed any peaks of radon and it's daughter products such as polonium-218 and 214, bismuth-214 for the late stage of the analysis. This implies that the groundwater from the borehole may contain radium-226 having a half life of 1,600 years which decays continuously.