• Journal of architectural history
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• 제33권3호
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• pp.7-17
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• 2024

Bunhwangsa Stone Brick Pagoda, constructed in 634, is Korea's oldest stone pagoda. As a prototype of the Silla Stone Pagoda, the pagoda was constructed using flagstones. Since it was constructed with flagstones, it has been known to be a pagoda that replicates the brick pagoda until now. The latest research suggests that it copies the India Stupa or the Stacked Stone Pagoda more than the Brick Pagoda. However, the Bunhwangsa stone brick pagoda has a significant difference in terms of construction technique and shape compared to Brick Pagodas, India Stupas, and Stacked Stone Pagodas. Therefore, it is worth paying attention to the stone building technique used in Silla. Through this study, I would like to clarify that the Bunhwangsa stone brick pagoda is a stone pagoda that creatively reflects the existing Silla stone building techniques such as stone fortresses and stone chamber tombs.

• International journal of advanced smart convergence
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• 제13권1호
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• pp.77-84
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• 2024

This study delves into the subtle sounds emanating from beneath the earth's surface to unveil hidden messages and the movements of life. It transforms these acoustic phenomena into digital data and reimagines them as visual elements. By employing Sismophone microphones and utilizing the FFT function in p5.js, it analyzes the intricate frequency components of subterranean sounds and translates them into various visual elements, including 3D geometric shapes, flowing lines, and moving particles. This project is grounded in the sounds recorded in diverse 'spaces of death,' ranging from the tombs of Joseon Dynasty officials to abandoned areas in modern cities. We leverage the power of sound to transcend space and time, conveying the concealed narratives and messages of forgotten places .Through the visualization of these sounds, this research blurs the boundaries between 'death' and 'life,' 'past' and 'present,' aiming to explore new forms of artistic expression and broaden perceptions through the sensory connection between sound and vision.

• Journal of the Korean Society of Costume
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• 제24권
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• pp.15-28
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• 1995

This thesis focuses on the study of costume and ornaments of Shilla which had been severely affected by Uighur, and those of Uighur in Uighur self-governing district located in Shin Kang. East Turkestan, in Centrals Asia. This study aims to identifty the way of intergration of Uighur's costume and ornaments into Shilla, and orgins of Shill's costume and ornaments which had amix of internationl elelemnts thoursh cross exchanges, by comparing the differences between the two, and at the same time to clarify the pedigree of Korean costume and ornaments which are said to be udner a severe Chinese influence, by highlingting its uniqueness and originality . The result of the study demonstrates and originality of SHilla by melting foreign cultures into its own style in the process of accepting them. This means that the Shilla has recreated them in t도 form of simplification, and added naturalistic abstratness which is an element of Norther culture. The costume and ornaments are divided into coronets men's costuem, women's costume, and accessories 1. Coroncts A horse-riding man, and the costume type of 유고제 착유지체형 tell the Northern culture's influence on 백화수피기마인물채화담립 and patterns of a lotus flowr and arabesque show the 백화수피기마인물채색답립 has an influence of Buddhism with cluture of bordering countries of Western China , The origin of 뱍회수피제안형건(원정형, 방정형) lies in Northern cultures which can be found in ancient tombs of the Huns in noin-Ila , and stone caves of Jizil in Kochang. The wall paintings in Alexandropol, Murutuk and 돈황 No. 409 cave show that 초화형입식계금관 is under the influence of Northern culture, and Bezerkrick No, 25 cave and 회 번 in Kocho also show 수목녹각형입식관 is under the influence of Northern culture, with its origin in Novecherkaask. In this regard, the transformed coroncts of Shilla has shows a blended culture of Shilla with Nothern, Chinese, and Western cultures. 2. Men's Costume 반령포 derives from cultures of bordering countries of Western China centering around Uighur and Turkey. 연주문 in Uighur prince's costume and in Uighur paintings of Central Asia were reflected into the arts of Shilla in a direct way, and the motive of Uighur was deviatelly expressed at Shilla's arts in the form of simplicity , and naturalistic abstract paintings as in shown at 입수쌍조문 in tiles and brick. Along with this , 고착지체형 costume originates from Eurasia's Northern horseriding costumes as was shown in a golden man in B.C.4-5C which is now possessed by Kazakstan Republic Academy Archelogy Center Museum, and a golden figure from Skitai ancient caves, an the origin is carried away into wall paintings of Kizil No.14. cave in 8c and Astana's early period ancient tomb. No.6. 3. Women's Costume The hair styles of Shilla people are either 변발 or up -style with a lot of hair around it whose origin can be seen in Astana No.216 and No.187 caves of Kochang and Uighur's wall paintings of royal princess's hair style. Astana's middle period No. 206 and No.230 tombs reveal the its origin of 고착장군 while Astana early period No. 6 tomb shows that of 광유풍만형. 4. Accessories The earrings with small golden beads is seen at earring of figure holding a sword in wall painting of figure holding a sword in wall painting of Kizil in about 5 C. and those of a offering people in Sorchuk wall paintings. The earrings with small golden beads originates from a golden pendant of Shivargan, Afganistan, and golden pendants and other golden and metal accessories from Chrioba ancient tombs in Skiti Critia peninsula. Shilla's costume derives from the costume style of horse-ridding man, which proves the fact that Shilla people are horse-ridding peoplewith excellent horse-ridding techniques, and traditions. The people of Shilla are from horse-ridding people of local mounted momads in Northern part of Siberia steppe and this origin of Northern culture had been carried into Uighur in East Turkestan. At the same time , Shilla has a wealth and power since it was rich in gold and iron , thus producing lots of materials made of them. The results of this study emphasizes Shilla's identity and self-control by creating an independent an innovative heterogeneous culture since Shill's active exchanges with East Asia allowed it to accept the most civilized Uighur culture in East Turkestan among Altai languate which had frequent cross contacts with India and Europe.

• Korean Journal of Heritage: History & Science
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• 제53권3호
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• pp.202-223
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• 2020

This purpose of this article is to identify the original form of the gilt-bronze ornamental pieces unearthed from the east part of the third wooden coffin in the Naju Bogam-ri Jeongchon (NBJ) tombs. The gilt-bronze ornamental pieces were all small, measuring less than 3cm in size and about 0.2cm in thickness, and only 19 or more small pieces were identified. In each piece of gilt decoration, a circular perforation, convex pattern, leaf-shaped spangle (瓔珞), 2 small holes for attaching spangles and gilt-bronze thread, 2 small holes for unknown purposes, and a continuous dot pattern of about 0.05 cm can be observed. As a result, it was judged that the gilt-bronze pieces excavated from the NBJ No. 1 chamber were part of the Headband Crown. Therefore, type 1 and type 3 of the gilt-bronze pieces were determined to be part of the Headband, and type 2 to be part of the Vertical Ornaments. Based on previous results, two types of restoration were proposed for NBJ No. 1 tomb gilt-bronze ornaments. In the first restoration proposal, there are wave-shaped dot patterns on the top and bottom of the crown, and the middle decoration is a spangle, circular perforation and spangle and a convex-pattern. In the second restoration plan, one row of convex patterns was added among the decorations in the middle of the first. The same type of vertical ornament was found in the Sochang (小倉) collection crown, but the overall structure and shape of the crown were completely different. On the other hand, the use of small holes of unknown use, as seen in the crown, was presumed to represent holes for fixing to a cap of organic matter. The restored NBJ No. 1 tomb gilt-bronze crown is characterized by circular punching, which makes it difficult to find an analogy in the other Three Kingdoms-period crowns. Unlike the existing halls in Gaya, Mahan, and Baekje, each district has a unique shape and decoration. The gilt-bronze crown excavated from NBJ No. 1 tomb is thought to reflect these characteristics.

• Journal of Soil and Groundwater Environment
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• 제10권3호
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• pp.32-37
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• 2005

The soil properties of the royal tombs (managed by cultural properties administration) located in Seoul and suburban Gyonggi area were investigated to see the influence of the change in soil environment on the royal tomb s이I. To compare the soil chemical properties of four royal tombs soil of Changdeokgung, Jongmyo, Seooneung, and Dongguneung, pH, organic content, available phosphate, extractable calcium, extractable potassium, extractable magnesium, cation exchange capacity, degree of base saturation, and total nitrogen content were measured. The concentrations of Cd, Pb, and Cu measured as the degree of heavy metal contamination can be an indication of atmospheric pollution in the soil environment. To estimate the degree of soil compaction, soil hardness, pore space, porosity, bulk density, and soil atmosphere were analyzed. Through these studies, following conclusions were made: 1. The soil hardness and pore space which can be used as indexes of soil compaction, were worse in the soil of Seooneung than in those of Changdeokgung and Dongguneury. These phenomena seem to be the result of increase in visitors in Seooneung and Dongguneung better and soil management in Changdeokgung and Dongguneung. When three different regions of forest area, prohibited area, and soil compaction area in Seooneung soil were compared, the degree of compaction in the forest area was less than compaction area, indicating the need for the employment of soil resting period in the compaction area. 2. The pH measurements of all four royal tombs soil were higher in top soil than sub soil. The higher soil pH values in Jongmyo and Seooneung seem to result from the application of soil conditioner. In the case of Seooneung, the values for soil pH and organic content were higher in the forest area than those in compaction area. It is thought that active soil management was employed in the forest area through application of organic matters and soil conditioners. 3. The heavy metal contents from soil of Changdeokgung and Jongmyo were higher than that from soil of Dongguneung. Since Changdeokgung and Jongmyo are located inside Seoul, it is thought that the high level of heavy metal concentrations in these royal tomb soil is the result of accumulation of pollutants from the city.

• Journal of Conservation Science
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• 제34권5호
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• pp.333-343
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• 2018

This study was conducted to evaluate the conservation environment by monitoring temperature and humidity for two years and mapping the remaining pigments of mural paintings to diagnose the conservation state of mural paintings of Royal Tombs in Neungsan-ri. We evaluated the characteristics of condensation in the tomb. Compared with the results of a 2008 survey, we conducted state change of mural paintings in the tomb. The temperature in the main room, which has an annual average soil temperature distribution at 5 m depth in Korea, is maintained at $13{\sim}18^{\circ}C$. The temperature range of the main room was between less than $0.1^{\circ}C$ to $0.5^{\circ}C$, and the diurnal variation of temperature between summer (June to September) and winter (December to January) is the greatest. Condensation is more concentrated in the summer because the outdoor air was typically at higher temperatures than the main room inflows in the tomb. Mapping the remaining pigment composition and particle distribution of mural paintings showed that it was in the range of 36.72~39.53% of the wall area. The pigment range was confirmed to be the same as it was in 2008, through ultraviolet fluorescence reaction and infrared ray investigation. Therefore, the underground environment that receives dew condensation in the summer has been stable since 2008. However, continuous monitoring is needed because the deterioration of mural painting proceeds considerably after excavation and only a small percentage of the pigments survive.

• Korean Journal of Heritage: History & Science
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• 제53권2호
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• pp.242-253
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• 2020

Six ornamental metal quiver fittings were excavated from stone chamber No.1 of the ancient tombs of Jeongchon, Bokam-ri, Naju. The ornamental quiver fittings are metal, but the body of the quiver was made of organic material, so that it corroded and disappeared in the burial environment. The ornamental metal quiver fittings were made in pairs, and decorated one quiver according to the location they were found in and their forms. The ornamental metal quiver fitting can be divided into two types: A band style ornament (帶輪狀金具) which decorates the arrow pouch, and a board style ornament (板狀金具) which decorates the board connecting the waist belt. Two ornamental metal quiver fittings excavated from wooden coffin 2 of stone chamber No.1, were made in the band style, while the ornamental metal quiver fittings from southeast of stone chamber No.1 were identified as two boardstyle ornaments and two band-style ornaments for what was presumed to be belt loops. Material analysis of the ornamental metal quiver fittings shows that they are made of a gilt bronze plate attached to an iron plate, and the surface is marked with a speck of chisel to make lines and patterns. Chemical composition analysis (XRF) established that 24~40wt% Au and 50~93wt% Cu were detected on the gold surface, and it was confirmed that bronze corrosion had taken place on the gilt surface. SEM-EDS analysis of the gold plating layer identified a working line for glossing, and 7~9wt% Hg and an amalgam of gilt layers was detected, confirming the amalgam gilding. CT and FT-IR analysis established that the band style was double-layered with silk fabric under the iron plate, and there was also a lacquer piece underneath. The band-style ornaments have two layers of silk under the iron plate, along with lacquer pieces. Adding the fabric to the arrow pouch increases adhesion and decorative value. It is assumed that the lacquer pieces indicate that the surface of the lacquered arrow pouch had fallen together with the ornaments. On the other hand, the board-style ornaments have a thick layer of organic matter under the iron plate, but this is difficult to identify and appears to be a remnant of the quiver board. The characteristics of these ornamental metal quiver fittings were similar in Baekje, Silla, and Gaya cultures from the late 4th to the late 5th centuries, and enable us to identify the art of ancient gold craftwork at that time.

• Korean Journal of Heritage: History & Science
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• 제53권2호
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• pp.270-285
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• 2020

This study examines the state of archeological research on Silla and Unified Silla conducted in North Korea and identifies its characteristics. In South Korea, most research has focused on prehistoric times in North Korea, and little research has been done on Silla and Unified Silla. Noting this, we attempted to examine the history of archaeological research in North Korea to provide foundations upon which to go forward. The research was examined in terms of general archaeological themes including tombs, fortresses, the capital city, earthenware, roof tiles, ornaments, weapons, and horse harnesses, and we identified four characteristics from the examination. First, Juche ideology had a great influence on interpretation of the unification of the three kingdoms. The Juche ideology was first proposed in 1955, and at the time, it was not fully established as an ideology but rather seen as constituting opposition to toadyism. Accordingly, the unification of the three kingdoms led by Silla was seen as amounting to collusion with foreign forces and was not acknowledged. A piece of evidence shows that this change took place around 1962. Second, an inclination to testify to the 'uniqueness' of the cultures of the three kingdoms is observed. The argument is that culture in the Korean peninsula has unique characteristics that set it apart from Chinese culture, and that the cultures of the three kingdoms share much in common. This inclination was not mentioned in research until the 1950s, and it can be seen as an effort to comply with Juche ideology and prove the principle of unity as stated in the national leader's instructions in the 1960s. Third, the influence of Goguryeo on the formation of Silla culture is emphasized. Related research explains that Baekje, Silla, and Gaya adopted the 'superior' culture of Goguryeo, and could establish 'uniqueness' of culture accordingly. It is claimed that an advanced Goguryeo culture was disseminated throughout Balhae and Unified Silla, and then to Goryeo, resulting in a true unification of the ethnic culture. Fourth, researchers in North Korea presume the Silla tombs and other relics to be far older than South Korean researchers' estimate. From a standpoint of highlighting the long history of Korea, they estimate the Silla Dynasty was founded in the early or mid-first century. Accordingly, archeological evidence that demonstrates the establishment of the state is dated as far back. Such an estimate is also indispensable in justifying the explanation that the chamber tombs of Goguryeo had a direct influence on Silla. These research characteristics which arose during the 1960s continue to be basic guidelines for North Korean researchers.

• Korean Journal of Heritage: History & Science
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• 제48권1호
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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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• 제37권2호
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• pp.66-73
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• 2019

The Royal Tomb of the Joseon Dynasty, which was listed as a UNESCO World Heritage site in 2009, is a cultural resource recognized for its 'outstanding universal value' around the world. The royal tomb of Joseon has been managed with an emphasis on the preservation of cultural assets since it was designated as a historical site in the 1970s, but it has received many visitors as a valuable historical and cultural resource and haven that connects the past and the present in today's bustling city. In order to investigate and analyze the current status of pavements in the royal palace in terms of quality and quantity, and to suggest the direction of improvement, this study conducted a complete survey of 53 royal palace viewing roads in 18 regions, and the results are as follows. First of all, problems are found in both the early Masato pavement of the creation, which was introduced with an emphasis on the preservation and protection of cultural assets, and the hardening pavement(KAP), which began to be used in the 1990s for the convenience of maintenance. In other words, the Masato pavement used to create a more environmentally friendly atmosphere of the Joseon royal tombs is showing a high percentage of use, but it lacks support for walking activities, such as the slippage of the pavement and water pooling during the rainy season or during the ice season. Also, hardening pavement introduced for convenience of maintenance, such as the movement of repair vehicles, is not functioning properly as it is damaged by physical deformation after construction. In addition, in awe zones such as parking lots, although the first image of the Joseon royal tombs is determined, the formation of the functional landscape centered on the carriageway does not harmonize with the traditional landscape, and, because of its lack of walking and environment-friendly features, there is a need for improvement, such as the experimental introduction of relevant pavement materials developed afterwards and continuous monitoring.