• Korean Journal of Heritage: History & Science
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• v.42 no.2
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• pp.86-109
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• 2009

Mireuksa Temple was founded during the reign of King Mu of Baekje(AD 600-641). The circumstance of the construction of this temple is documented in "Memorabilia of the Three Kingdoms (Samgukyusa)". The pagoda named stone pagoda at Mireuksaji temple stands outside the main sanctuary of the western area. The south and west sides of the stone pagoda have completely collapsed, leaving only the eastern facade of six of its levels intact. Through the recent discovery of sarira reliquary we can see that the erection of this pagoda was in 639. So owing to accumulation of excavation results about Baekje temple site and vigorous academic exchange, it is possible that architecture of western pagoda at Mireuksaji temple can be understood in connection with the architectural development of wooden pagoda from 6th to early 7th century in East Asia. So this study is on the consideration of building of this pagoda putting first structure of upper part and cross-shaped space in 1st floor. It was considered that the material characteristics as stone could be applied to the temple pagoda architecture of large scale. The results are as follows. First, it had been built in recognition that the outer and inner part of pagoda should be separated. As it is the expression of structural system in temple pagoda architecture of large scale at that time. In pagoda there was a self-erected structure and the members of outer part of it were constructed additionally. Second, in Mireuksaji stone pagoda there is central column with stones. With inner part of pagoda it can be regarded as mixed structural system that constitutes central contral column and inner structural part. And it could be a kind of middle step to more developed structure of whole as wooden pagodas in Japan. Third, as the sarira reliquary was in central column on the first floor, the cross-shaped space could be made. The formation of this space was so on the natural meaning of sarira that the concept as memorial service of graves could be apllied to the pagoda. The style of tomb in Baekje was expressed to the space of 1st floor in pagoda where Sarira had been mstalled. That was not only effective presentation of symbolic space but also easier method in the use of same material.

• Korean Journal of Heritage: History & Science
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• v.43 no.1
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• pp.56-85
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• 2010

UNESCO World Heritage Programme was introduced following the adoption of Convention Concerning the Protection of the World Cultural and Natural Heritage by the General Conference of UNESCO in 1972 in order to protect cultural and natural heritage with superb value for all mankind. Despite its short history of less than 40 years, it has been evaluated as one of the most successful of the cultural area projects of UNESCO with 890 world heritage registered worldwide. For systematic protection management of World Heritage, UNESCO, through systemization of registration, emphasis on the importance of preservation management plan, institutionalization of monitoring, and operation of World Heritage Fund, has utilized World Heritage Programme not just as a means of listing excellent cultural properties, but as a preservation planning tool, and accordingly, such policies have had a significant influence on the cultural heritage protection legislations of numerous nations. Korea has ratified World Heritage Convention in 1988, and with the registration of the Royal Tombs of the Joseon Dynasty in 2009, it has 9 World Heritage Sites. Twenty years have passed since Korea joined the World Heritage Programme. While World Heritage registration contributed to publicity of the uniqueness and excellence of Korean cultural properties and improvement of Korea's national culture status, it is now time to devise various legislative/systematic improvement means to reconsider the World Heritage registration strategy and establish a systematic preservation management system. While up until now, the Cultural Properties Protection Law has been amended to arrange for basic rules regarding registration and protection of World Heritage Sites, and some local governments have founded bodies exclusive for World Heritage Site management, a more fundamental and macroscopic plan for World Heritage policy improvement must be sought. Projects and programs in each area for reinforcement of World Heritage policy capacity such as: 1) Enactment of a special law for World Heritage Site preservation management; 2) enactment of ordinances for protection of World Heritage Sites per each local government; 3) reinforcement of policies and management functionality of Cultural Heritage Administration and local governments; 4) dramatic increase in the finances of World Heritage Site protection; 5) requirement to establish plan for World Heritage Site preservation protection; 6) increased support for utilization of World Heritage Sites; 7) substantiation and diversification of World Heritage registration; 8) sharing of information and experiences of World Heritage Sites management among local governments; 9) installation of World Heritage Sites integral archive; 10) revitalization of citizen cooperation and resident participation; 11) training specialized resources for World Heritage Sites protection; 12) revitalization of sustainable World Heritage Sites tourism, must be selected and promoted systematically. Regarding how World Heritage Programme should be domestically accepted and developed, the methods for systemization, scientific approach, and specialization of World Heritage policies were suggested per type. In the future, in-depth and specialized researches and studies should follow.

• MISULJARYO - National Museum of Korea Art Journal
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• v.99
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• pp.50-71
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• 2021

The Five-story Stone Pagoda from the Dongsa-ri Temple Site in Buyeo, dated to early Goyeo Dynasty, is valuable in that it is the southernmost example of the capital Kaesong pagoda style. This pagoda exhibits characteristics of the central Goryeo style featured in the pagodas built in and around the capital Kaesong, such as the diagonally curved section of the support for the cover stone above the upper stereobate. It also shares stylistic affinities with eleventh-century stone pagodas. The ansangmun (elephant eye patterns) in the lower stereobate of the Dongsa-ri Five-story Stone Pagoda resemble those in the pedestal of the Stone Seated Buddha (which was likely repaired in 1028 during the reign of King Hyeonjong), at the Jeongrimsa Temple site in Buyeo. It also reflects elements found in the flagpole supports from the Cheonheungsa Temple site in Cheonan. The sculpting techniques used in these patterns are also similar. Such congruencies suggest that the Dongsa-ri Five-story Stone Pagoda was built in the eleventh century. The Dongsa-ri Temple Site in Buyeo, located near the Geumgang River, served as a principal route for transporting grain-tax during the Goryeo Dynasty. It was also situated along the way to the Goryeo royal temple, Gaetaesa Temple. The geographical significance of the site and the extensive repairs undertaken at Jeongrimsa Temple during the reign of King Hyeonjong (r. 1009-1031) of the Goryeo Dynasty appear to have impacted the production of the Dongsa-ri Five-story Stone Pagoda. The Dongsa-ri Five-story Stone Pagoda also bears stylistic resemblances to the stone pagoda and flagpole supports found at neighboring Cheonheungsa Temple, which is presumed to be related to the establishment of Honggyeongsa (or Honggyeongwon) Temple in 1021 in Cheonan. This indicates the route of the transmission of the Kaesong pagoda style. The Five-story Stone Pagoda from the Dongsa-ri Temple Site pays testimony to the cultural accomplishments of eleventh-century stone artworks in Buyeo and adjacent regions. This pagoda embodies the majestic and assertive aesthetics that define of the Goryeo Dynasty, as do early Goryeo colossal Buddhist sculptures, including the Stone Standing Maitreya Bodhisattva at Daejosa Temple in Buyeo, the Stone Standing Buddha Triad at Gaetaesa Temple in Nonsan, and the Stone Standing Maitreya Bodhisattva at Gwanchoksa Temple in Nonsan. All of these bear similarities to the massive stone lantern and pagoda at Hyeonhwasa Temple in the capital Kaesong. The production of the light, sleek, sharp, and sophisticated Dongsa-ri Five-story Stone Pagoda is presumed to reflect the maturity of the cultural competence of the people in Dongsa-ri, Buyeo under the influence of Buddhist culture from the capital Kaesong during the eleventh century, a time marked by active cultural exchanges among regions.

• Korean Journal of Environment and Ecology
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• v.35 no.4
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• pp.316-335
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• 2021

This study reviewed the change of theory of ecological niche(concepts and definitions) over time to provide a theoretical basis for habitat-related studies of animals and plants. Accordingly, it analyzed and summarized the major discussion trends of ecological niche worldwide in each period from the 1900s to the present. Countries advanced in ecological studies, such as the EU and the USA, have conducted theoretical and empirical studies on the ecological niche since the early 1990s. The concept of the ecological niche was introduced in the early 1900s, developed in the mid-1900s, and advanced from the mid-1900s to the late 1900s. Since the 2000s, the advanced concept has diversified with new developments in technologies and research methods. The factors suggested by theoretical and empirical studies in defining the ecological niche of a species include 1) population dynamics of the target species, 2) all biotic conditions to sustain a population (food relationship and material flow in the food chain), 3) all non-biotic conditions to sustain a population (physical environmental conditions), 4) all direct and indirect interactions between these environmental factors, and 5) response and adaptation mechanisms that include the migratory ability of the target species or genetic diversity and adaptability to change. Unlike such international advancement, there have not been sufficient theoretical, philosophical, and empirical studies of ecological niche in Korea. The concepts and definitions by Greennell, Elton, and Hutchinson were selectively and partially borrowed for empirical studies without full description. Considering that the theory of ecological niche becomes the foundation for habitat-based species conservation and restoration, it is necessary to seek diversification and advancement of theoretical and empirical research and research methods and technological development. It will provide an important foundation for the academic advancement of ecology and for establishing and implementing policies to preserve and restore ecology and biodiversity effectively and successfully in Korea.

• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.4-23
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• 2021

The purpose of this study was to classify the types of tweezers used across time and to examine the social culture of periods through the use of tweezers. Chapter II summarized the terms for tweezers and looked at the use of tweezers in two cases related to the social culture and politics of a period. The first is the use of tweezers for beauty purposes. Men used tweezers as a kind of self-management to maintain their social status and power, and thus they helped develop a wide range of tweezers cultures. People with gray hair are usually old. The perception that we should step down from politics when we are aged has become strong. Therefore, politicians pulled out gray hairs with tweezers to maintain only black hair and show youth, which indicates that their social influence is still strong. The second is the use of tweezers for first aid. Chapter III classified tweezers by type during the Goryeo and Joseon periods. The tweezers are largely divided into basic and composite types. The basic type of tweezers is a form that has been continued since the Three Kingdoms Period and consists of tongs and handles, and a fixed type of tweezers with a fixed ring appeared. Composite tweezers are made by grafting earpick or multipurpose knives. Composite tweezers are all-in-one tweezers with an earpick and an all-in-one knife. Tweezers are usually all-in-one. Among the composite tweezers, rivet separation and ring separation are characterized by separation, unlike the all-in-one tweezers. The method of connecting is divided into rivets and connection rings. The all-in-one tweezers appear only during the Goryeo Dynasty and are characterized by the lifestyle that provides a glimpse of the tastes of contemporary users. The manufacturing takes shape after making a thin metal plate. Decorative techniques are carved on soft metal tweezers, such as silver and bronze with a line, point, and a pressed angle. These tweezers are presumed to have been used by the royal family or aristocrats. However, most tweezers are made of strong bronze or iron. Therefore, the majority of simple X-shaped patterns are sampled or without patterns. The biggest reason why there are such diverse types of tweezers is that the culture of tweezers was widespread regardless of the times. In addition, the basic type of tweezers has been used since the Three Kingdoms Period and has been modified and used together as necessary because the shape of tweezers is a practical daily tool. Study of metal crafts have been limited to royal objects and Buddhist crafts. We hope that research on everyday tools such as tweezers will continue to serve as an opportunity to examine the social and cultural aspects of the times in various ways.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.194-215
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• 2021

Termites are important decomposers in the ecosystem. They are also economically significant structural pests. In this study, we reviewed the developments of termite control and recent research on termite management to provide information on the prevention and control of termites. In Korea, most of the damage to wooden historical buildings is caused by subterranean termites. Reticulitermes speratus kyushuensis is the main species, which is widely found throughout the country. In the early 1900s, inorganic insecticides, such as arsenic dust, were used for termite control. After the synthesis of chlorinated hydrocarbon pesticide in the 1940s, it was widely utilized and demonstrated high termite control efficacy. However, chlorinated hydrocarbon insecticides were later banned, disappearing from markets after reports emerged concerning environmental contamination and toxicity to humans. Therefore, the termite control industry sought a new termiticide; hence many pesticides were utilized for termite control. Organophosphate (1960s), carbamate (1970s), pyrethroid, and insect growth inhibitor (1980s) were newly synthesized and adopted. In the 1990s, the first commercial baits using chitin synthesis inhibitors (CSI) were developed, providing a means to eliminate an entire colony of subterranean termites around a structure. Many studies have been carried out on soil termiticides (liquid termiticides) and CSI baits to increase their efficacy, and different baits such as aboveground bait stations, fluid bait, and high-durability bait were also developed in the 2000s. In addition, the paradigm of termite control has shifted from localized treatments using soil termiticides to area-wide pest management using CSI baits to create termite-free zones and protect buildings over time. Termite infestations in wooden historical buildings in Korea have been reported since 1980, and considerable attention was drawn in the 1990s when several UNESCO world heritages such as the Jongmyo Shrine and the Janggyeong Panjeon Depositories of Haeinsa Temple were infested by subterranean termites. Since then, a survey of termite infestation in wooden architectural heritage has been conducted, and the National Research Institute of Cultural Heritage and Heritage Care Program regularly monitors those properties. Finally, we suggest termite management using primarily CSI baits, selective application of various soil treatments applied to the object, foundation soil treatment, research and development of durable termite baits, application of area-wide programs for wooden-building complexes, application of integrated termite management (ITM), and regular education for owners and managers to prevent and reduce termite damage.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.1-18
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• 2011

This study has been examined characteristics of Yeoju Lee family, rich group at Miryang in the middle of the Joseon Dynasty, around Geumsidang(今是堂) Lee Gwang-jin remains as a cultural landscape appeared in pictures, poetry, and a strange story. Geumsidang Lee Gwang-jin returned to his old home abandoned the middle government post after the death of Moonjeong queen in socially confused stage and tried to manage an annex to a Geumsidang located in Baekgok of Eungchun riverside, and Geumsidang he managed was affected by his teacher and uncle Wolyoun Lee Tae of a view of nature, filial behavior, and nature management etc. Also, 'Painting of 12 landscapes to Geumsidang' is landscape painting with the actual view not like the '8 landscapes of So-Sang' or '8 landscapes of Sa-Si' which is abstract landscape and Lee Gyeong-hong drew 12 landscapes of Geumsidang that includes Angbong(鶯峰: nightingale peak), Yongdu mountain(龍頭山), Mubong Buddhist temple(舞鳳寺), Maam mountain(馬巖山), Wolyeon-dae(月淵臺), Saindang village(舍人堂村), Youngnam-ru(嶺南樓), Miryang eubseong(密陽邑城), Eyeonso(梨淵沼: pear tree deep water), Yullim(栗林: chestnut tree forest), Miryang river(密陽江), Sammundong fields(沙門野), land and government office owned by Yeoju Lee family as landscape objects. 'Poems of 12 landscapes to Geumsidang' by Lee Yong-gu 11th sons of Lee Gwang-jin was written based on 'Painting of 12 landscapes to Geumsidang', and sang for time, season, and changes of the weather. All 12 poems are all a quatrain with seven Chinese characters in each line consisted of all 28 words, but does not match completely with shown elements in pictures because it is not a simple description of pictures but it is recreated by writer's personality. Therefore these painting shows not only th meaning of filial behavior but also village owned by Yeoju Lee family rich group in Miryang, and these poem recreated the pictures by changing as certain scenic spot with the object of enforcing territory of Yeoju Lee family.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.69-86
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• 2020

Haenghaeng Ilgi (Diary of a Royal Trip) (koo 7152; hereafter Ilgi) in the collection of the National Museum of Korea provides an account of Crown Prince Sado's incognito royal visit to Pyeongyang in the fourth month of 1761. Ilgi was written by Ham Daeil, a low-ranking military officer in Pyeongyang. Ham was singled out for praise by Crown Prince Sado (1735-1762) and served the prince from the seventh day of the fourth month to the first day of the fifth month. Ilgi documented the deeds of Crown Prince Sado during this period and provides detailed information on his incognito visit to Pyeongyang, which was not officially recorded. Ilgi shows characteristics differentiating it from many other diaries. For example, the quality of the paper, neat handwriting, and well-organized sentences differ from those of common diaries. These distinctions indicate that Ilgi is closer to an official document than a private diary written by an individual. Since Ilgi records Crown Prince Sado's incognito visit to Pyeongyang, is only vaguely known otherwise, its contents need to be examined in terms of whether or not they are fully factual. As the first step in such verification, It is traced that Ham Daeil's family history which turned out to match what is written in Ilgi. Moreover, Ilgi mentions about Prince Crown Sado's writing a piece of calligraphy, and a matching piece of calligraphy written by Sado still survives today. It can be confirmed that the contents of Ilgi are factual in at least these regards. However, although Crown Prince Sado was known to have met people from various social classes during his visit to Pyeongyang, Ilgi focuses only on Crown Prince Sado and Ham Daeil. This suggests the possibility that the surviving version of Ilgi may be an edited condensation based on original texts containing more complete information on Crown Prince Sado's visit. Ilgi is presumed to have been produced during the generation of Ham Jeonghui, a son of Ham Daeil. The dates of birth and death of Ham Daeil fall during the reign of King Yeongjo. It is unlikely that any records regarding Crown Prince Sado would have been published while King Yeongjo, who was hostile to Sado, ruled the country. Ilgi also provides strong evidence that Ham Jeonghui presented the subsequent king, King Jeongjo, with the calligraphy by Crown Prince Sado and the diary. It is unclear if the book Ham Jeonghui presented him was the same as the extant version of Ilgi. Nonetheless, considering the situation at the time when King Jeongjo was pursuing several projects to honor his father Sado, it is highly probable that Ilgi was produced during the reign of King Jeongjo. The periods of presenting the calligraphy and the diary respectively overlapped with the production of Hyeollyungwon, the royal tomb of Crown Prince Sado, and Sado's sixtieth birthday. Therefore, is it considered reasonable that Ham Jeonghui produced Ilgi to promote his own social ambitions.

• Journal of the Microelectronics and Packaging Society
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• v.27 no.4
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• pp.83-89
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• 2020

For the past few decades, as part of efforts to protect the environment where fossil fuels, which have been a key energy resource for mankind, are becoming increasingly depleted and pollution due to industrial development, ecofriendly secondary batteries, hydrogen generating energy devices, energy storage systems, and many other new energy technologies are being developed. Among them, the lithium-ion battery (LIB) is considered to be a next-generation energy device suitable for application as a large-capacity battery and capable of industrial application due to its high energy density and long lifespan. However, considering the growing battery market such as eco-friendly electric vehicles and drones, it is expected that a large amount of battery waste will spill out from some point due to the end of life. In order to prepare for this situation, development of a process for recovering lithium and various valuable metals from waste batteries is required, and at the same time, a plan to recycle them is socially required. In this study, we introduce a nanoscale pattern transfer printing (NTP) process of Li2CO3, a representative anode material for lithium ion batteries, one of the strategic materials for recycling waste batteries. First, Li2CO3 powder was formed by pressing in a vacuum, and a 3-inch sputter target for very pure Li2CO3 thin film deposition was successfully produced through high-temperature sintering. The target was mounted on a sputtering device, and a well-ordered Li2CO3 line pattern with a width of 250 nm was successfully obtained on the Si substrate using the NTP process. In addition, based on the nTP method, the periodic Li2CO3 line patterns were formed on the surfaces of metal, glass, flexible polymer substrates, and even curved goggles. These results are expected to be applied to the thin films of various functional materials used in battery devices in the future, and is also expected to be particularly helpful in improving the performance of lithium-ion battery devices on various substrates.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.22-37
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• 2021

The wind chime is a longstanding Jangeomgu (majestic article) found in Korea, China, and Japan. However, basic research on wind chimes is currently inadequate as it is difficult to estimate the time of production, and there are few relics. Therefore, this research morphologically classifies the eight bronze wind chimes decorating the baldachin of the Stone Standing Maitreya Bodhisattva of Gwanchoksa Temple, Nonsan. Based on this, the manufacturing techniques and production period are scientifically demonstrated. The synthesis of the research results reveals that the structure and characteristics of the wind chimes of the Stone Standing Maitreya Bodhisattva of Gwanchoksa Temple, Nonsan differ depending on their location on the baldachin. The four large-sized wind chimes on the lower-baldachin were manufactured by casting a Cu-Sn-Pb alloy, and they are estimated to have been made during the early period of Goryeo. The two medium-sized wind chimes of the upper-baldachin's northern direction were manufactured through forging a Cu-Sn or Cu-Sn-Pb alloy, and they appear to have a similar structure to the cylindrical wind chimes appearing during the latter period of Goryeo and the Joseon period. The two small-sized wind chimes of the upper-baldachin's southern direction were manufactured by casting a Cu-Sn-Pb alloy containing Zn, and based on the chemical composition of the alloy and the shape of the clapper, they are estimated to have been manufactured during the latter period of Joseon. Through the observation of microstructures and a chemical composition analysis, it is demonstrated that two wind chimes of the lowerbaldachin were manufactured by casting and slow cooling the alloy with an alloy ratio of Cu:Sn:Pb≒80:15:5. In addition, it is estimated that the wind chimes of the upper-baldachin's northeast direction were manufactured by forging an alloy of Cu-Sn with a similar alloy ratio to that of forged high tin bronze. The results of a comparative analysis of prior research on domestic wind chimes confirm that two wind chimes of the lower-baldachin have a similar composition ratio to the wind chime excavated from Wolnamsaji in Gangjin, containing an amount of tin that corresponds with ancient records. Having a similar alloy ratio to forged high tin bronze, the wind chimes of the upper-baldachin's northeast direction are the only instances among all of the wind chimes that have been examined to date that were manufactured using this forging method. The purpose of this research is to collect baseline data to verify and classify the manufacturing period of wind chimes according to their morphological characteristics based on scientific evidence. It is hoped that this data can be utilized for the restoration and conservation processes of the wind chimes of the Stone Standing Maitreya Bodhisattva of Gwanchoksa Temple, Nonsan.