• Conservation Science in Museum
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• v.13
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• pp.71-80
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• 2012

So-hwan earring(small hoop earing) is orbicular earring that have only main hoop. In this study, So-hwan earring from Baekje tombs are analyzed scientifically and those is attempted to find the correlation between scientific results and historical constituent. Six earrings were excavated from Habjung-ri sites in Buyeo and formative features and material characteristics of them were analyzed by microscope and XRF. As a results, various toreutics about producing gold silver alloy, pressure welding and amalgam plating that existed in Baekje from Ungjin period to Sabi period.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.3
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• pp.1-8
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• 2002

This article is to study the ancient Korean make-up based on ancient men's and women's facial decoration. The adornment is mainly about make-up, but I didn't employ make-up in this article on the ground that it isn't an appropriate concept in men's case. The study on the ancient Korean make-up has been conducted on the basis of Goguryeo mural paintings excavated in the tombs. Contrary to the Baekje and the Silla Kingdoms, Goguryeo women's make-up carne to fashion like China. The Goguryeo mural paintings depicted women's make-up which painted their faces white and lined on the eyebrows to make them raise toward their foreheads after removing their own eyebrows. They outlined their mouths smaller than their own and, in some occasions, applied make-up differently on the upper lip and the lower lip. As the time passed by, women applied the blusher, which attests to the fact that make-up of those days was considerably developed. Unlike women, men didn't put on cosmetics but they grew beard as a symbol of adults. The beard had a diversity in shape such as goat-shaped and fan-shaped beards. It can be understood that women's make-up was applied as a manifestation of adults like men's growing beards.

• 보존과학연구
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• s.6
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• pp.247-258
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• 1985

Conservation laboratory was attached to Keimyung University Museum inMarch 1980 and ever since it has been devoted mainly to the processing andconservation of metal objects. A number of objects have been processed inthis laboratory during the period, including those already in the collection ofthe Museum, those which were discovered during the three major excavationsof Kaya tombs conducted by the Museum, and those processed on commissionfrom other museums in the country,The activities of this laboratory include: (1) conserving the objects againstfurther erosion; (2) raising the archaeological value of the objects by revealingthe structure of such parts of the objects as concealed under rust; and (3)recovering the original shape of damaged objects.The methods adopted by the laboratory include: (1) removing from theobjects the ionized chlorine which usually are the major cause of erosion; (2)strengthening the objects by soaking them in acrylic resins; and (3) applyingresins to the surface of the objects to protect them from further erosion.Chemicals much employed by the laboratory includes the acrylic resin(Ruschot; developed jointly by the Cultural Property Research Institute ofKorea and Samwha Paint Company), the sodium sesquicarbonate, the sodiumhydroxide, the lithium hydroxide, and the benzotriazole.Major apparatus in the laboratory includes the vacuum immersion tank, theairbrasive, the ultrasonic cleaner, the pH-ion meter, the water bath, the zoomstereo microscope, the drying oven, and the drill.

• The Research Journal of the Costume Culture
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• v.12 no.3
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• pp.455-467
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• 2004

The purpose of this study is reviewing and researching the symbolic meaning and classifying the types of the style of the Costume in classical novel 'Shimchungjun' focusing on the woman's costume through the antique records and tombs bequests. Titled ladies for royal family put on 'Wooimkyoryong' and 'Sungun' as a petticoat when the ladies of Song period rode on horses. The underskirt played a part to swell a skirt for ladies. 'Bakjueui' and 'Hwangsangi' were ordinary clothes ranging from ladies of loyal family to women. The red color was limited to royal family. The ordinary clothes of women were white ramie clothes commonly and floral patterned clothes were prohibited to the ordinary clothes for women. 'Ko', a breast-tie (breast ribbon) of a Korean coat, was made of silk and women wear as an outer garment. The common people will wear 'Ko' of white ramie clothes which was very active items. The ladies of royal family and women put on shoes made of white ramie clothes, but the full dress of queen wore blue boots made of leather. The noble women wore 'Suk'(boots) made of deer skin and common people wore straw shoes regardless of gender and age. Sometimes they wore 'Woopihye' made of cowhide. In the first of Koryo era, the styles of dress were consisted of 'Monso', 'Eui', 'Po', 'Dae', 'Koh', 'Sang', 'Sungkun' and 'Kangnang'. The structure of costume for women made little difference and there was a great difference with decoration.

• Acta Via Serica
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• v.1 no.1
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• pp.69-93
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• 2016

This article compares two Iranian towers (burj) of the Saljuq period (c.1037-1194) with two Chinese Pagodas (t'a) of the Song dynasty (c.960-1279) in order to identify common cultural trends in medieval Iranian and Chinese architecture. To this end, the Iranian towers of Tuqrul in Rayy and Chihil Dukhtar in Damghan are compared with their Chinese counterparts of the Iron Pagoda in Kaifeng and the Pizhi Pagoda in Changqing. The two Iranian towers have much simpler architectural decorations compared to the splendid Song pagodas, which are decorated with statues and colorful paintings. The similarities in form, however, suggest common functions provided by the architecture. Both the Saljuq and Song towers had astronomical and military functions, position identification for travelers, and symbolic meanings, as well as their main functions as tombs. By applying comparative studies on the forms and functions of the Tuqrul and Chihil Dukhtar towers on the one hand, and the Iron and Pizhi Pagodas, on the other hand, this article aims to contribute new insights regarding common social trends shared by the medieval Iranian and Chinese and illustrated by their architecture. Extensive and distinguished publications on the general subject of art and architecture during the reign of the two dynasties under discussion already exist, as fully referenced below, but the specific comparative themes regarding the individual sites discussed here are the first in any study of this kind.

• Acta Via Serica
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• v.1 no.1
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• pp.105-117
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• 2016

The Silk Road named by Ferdinand von Richthofen was not designated as a specific route. A lot of East-West trade routes had already existed across the continent and the geographical scope and definition of the Silk Road is still expanding. In particular, the claim that the Eastern end of the Silk Road reaches Gyeongju is an example of this expansion. Burial treasures from tombs on the Korean Peninsula have already been identified as products from the Sassanian Dynasty of Persia, and various archaeological and epical evidences support this finding. However, the specific route where these exchanges were made, around the 6th-8th centuries, has yet to be identified. Maritime as well as inland routes can easily be hypothesized. The Silk Road was largely activated by the Yam postal system with the expansion of the Mongol Empire. It not only served as an effective pathway for the Yuan to rule over the Goryeo, but also connected the Eastern end of the Silk Road to Gyeongju. This can explain the situation since the 13th century. Therefore, this paper claims that the Yeokcham system had been operating on the Korean Peninsula since the Unified Silla Kingdom, the previous period of Goryeo, or perhaps even before then. The Yeokcham should thus be regarded as a prototype of the Mongolian Yam, and the Korean peninsula should be recognized as another route which contributed specifically to the development of the Silk Road, not just as a user or a beneficiary.

• Journal of the Korean Society of Costume
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• v.56 no.3 s.102
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• pp.42-56
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• 2006

The purpose of this study is to review the literatures and the wall paintings of the ancient tombs of Koguryo in an effort to try to understand the characteristics of the culture of dyeing in Koguryo. The research findings follow: 1. The colors that were in vogue in Koguryo are five cardinal colors (red, blue, white, black, and yellow) and compound colors, like purple and green. Those colors were used in some or all parts of the clothing and even on some parts of the body. 2. Some clothing of Koguryo as shown in the wall paintings were made with a single and solid color by dip dyeing method. But the majority of the clothing had a variety of patterns. Among the patterns, the geometrical dot pattern took the majority. 3. The dyeing techniques used in Koguryo were printing, yarn dyeing, embroidery, wax resist dyeing, drawing and painting. The development of yarn dyeing method, weaving with silk-threads dyed in various colors, enabled to produce Geum fabrics, which were used for the upper classes' clothing. 4. The esthetic features represented in the colors of Koguryo include the beauty of contrast coloring, preference for red, preference for geometrical patterns, and the harmony of yin and yang.

• Journal of the Korean Society of Costume
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• v.61 no.2
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• pp.88-101
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• 2011

This study emphasizes on the characteristics of the excavated fabrics from the tomb of Kimwhoak in the late 16th and early 17th centuries. All of 118 kinds of fabrics are used in excavated costume from the tomb of Kimwhoak. Classified by its materials, it is divided into small groups as follows: 63 pieces of spun silk tabby(53.6%), 14 of spun yarn silk(11.9%), 13 of thin filament silk tabby(11.0%), 8 of thin silk tabby(6.8%), 4 of satin without pattern(3.4%), 3 of filament silk tabby(2.5%), 3 of twill without pattern(2.5%), 2 of satin damask(1.7%), 2 of mixture fabric with silk and cotton(1.7%), and 2 of ramie fabric(1.7%), 1 of simple gauze without pattern(0.8%), 1 of damask with supplementary gold thread(0.8), 1 of cotton(0.8%), 1 of etc(0.8%). Classified by ways of weaving: 106 pieces of plain weave(89%), 6 of satin weave(5%), 3 of twill weave (3%), 1 of gauze weave(1%), 1 of compound weave(1%) and etc(1%). In point of patterns, the most of textiles are without pattern, there are only two of them are patterned textile. such as lotus patterns with vine, peony patterns with vine. Their patterns are very similar to those of other tombs in the same age.

• Journal of architectural history
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• v.16 no.3
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• pp.115-131
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• 2007

Jeong Woo-tae(?-1809) was a military official who had worked as Byeol-Gan-Yeok in the governmental construction works during the late 18th century through the early 19th century. Byel-Gan-Yeok, literally a special technician, was an official post in the governmental construction works that carries specific technical tasks from the mid 18th century. Over 30 years, Jeong Woo-tae had devoted himself in the construction of various royal tombs, city walls, and palace buildings. He showed superb and various techniques in the works of stone carving and architectural details. After finishing the construction of the tomb of King Jeong-jo's father successfully, he was appointed as a governor of a rural town. Being on duty of the governor, he used to participate in the construction works as a technician. He also made a couple of innovative devices in the field of construction, like a carrying apparatus, Byel-Nok-No. His works secured the setting up of the post of Byel-Gan-Yeok in the governmental construction system in the 19th century. But his technical achievement remained as his own private works rather than developing to the universal growth of the craftsmen's skill. This might be a limitation of the Byel-gan-Yeok's role, whose position was remained in the midway between official and craftsman.

• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.198-210
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• 2008

The purpose of this study is to establish the conservation methods of embroidered textiles and textile works. The conservation of remained textiles is consisting of examination, cleaning, support and consolidation, restoration, and storage and display process. It aims to prevent the damage on textile remains for long time display and storage and to prolong their aesthetics and functionality. The embroidered textiles and textiles works, which are remained by handed down or excavated or included in the Buddhist are embossed with colorful threads on the fabrics: the stitches include embroideries on clothing, bed clothes, wrapping clothes, utensil pouches, panels and Buddhist goods; textile works include hats, ornaments, shoes, attachments of clothes etc. These are composed of mainly fabrics, precious metals, leathers and precious stones, etc., and are fabricated by several techniques such as braiding, twining, sewing as well as weaving. Metal threads were also used to add a decorative effect on these goods. In order to conserve and preserve the remained goods, a special care must be taken on the metal threads, which are the most fragile material among the constituents. Hence, characteristics of metal threads and its cleaning methods, general conservation techniques of a rank badge, which is brocaded and partly attached to Cheogori and Samo(men's hat) from the excavated old tombs are introduced here.