• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.114-133
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• 2013

This study aims to identify the natural damage of the Samcheonsaji Temple Site in Bukhansan National Park and to suggest the plans to minimize damage for the remains. The types of natural damage are classified into direct vegetation damage, indirect topographical damage, and artificial damage. The most popular causes of damage to temple sites include the roots of trees as direct vegetation damage and the soil erosion by rain or stream as topographical damage. Direct vegetation damage includes burial remains damaged by the root of trees and vines, but it is often observed that some trees have contributed to protection against collapse. Indirect topographical changes have damaged the ruins by soil erosion caused by floods or typhoons. Vegetation changes due to topographical reasons have also caused damage. Artificial reasons of damage include forestry operations and compaction by hikers. Based on the analysis of the findings, the following could be suggested as plans to resolve these problems: 1. Natural damage occurs slowly due to negligence. Therefore, it could be reduced by forestry improvement, including forest density control through thinning, planting to prevent landslides, maintaining grasslands nearby. 2. Deciduous broadleaf trees can be planted to reduce soil erosion by rainfall. It is necessary to maintain the density of forests at around $0.02{\sim}0.18trees/m^2$. 3. It would be good to grow Quercus spp and Carpinus spp or weaken the community of Robinia pseudoacacia and Pueraria lobata which disturb the ecosystem. Samcheonsaji Temple Site is located in Mt. Bukhan National Park that is a publicly owned property. Therefore, it is constantly maintained for natural preservation and vegetation management could be considered for the preservation of historical remains.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.9
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• pp.405-411
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• 2019

In this study, tensile tests were carried out on materials (A516-60, A283-C, A285-C, and SB410) for structural and pressure vessels at temperatures of $20^{\circ}C$, $-20^{\circ}C$, and $-40^{\circ}C$, and the changes in the mechanical properties were analyzed. Compared to the results at $20^{\circ}C$, the average yield stress increased by 6.4% and 7.5% at $-20^{\circ}C$ and $-40^{\circ}C$ for A516-60, while the average tensile stress increased by 1.3% and 4.1%, respectively. The average elongation decreased by 4.7% and 20.4% at these temperatures. In the case of A283-C, the average yield stress increased 8.8% and 9.8%, the average tensile stress increased by 4.1% and 5.9%, and the average elongation rate decreased by 7.4% and 9.9% at $-20^{\circ}C$ and $-40^{\circ}C$, respectively. For A285-C, the average yield stress increased by 1.8% and 8.6%, and the average tensile stress increased by 2.6% and 5.3%, respectively, but there was little change in the average elongation. Finally, for SB410, the average yield stress increased by 7.1% and 11.8%, the average tensile stress increased by 4.3% and 5.5%, but the average elongation rate decreased by 8.7% and 13.5%, respectively.

• Korean Journal of Heritage: History & Science
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• v.50 no.4
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• pp.148-165
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• 2017

Mural paintings drawn inside ancient tombs are very sensitive to changes in the environment such as temperature and humidity, especially the finish layer of the tomb murals differ in preservability depending on the material properties and humidity conditions. In this study, I examined the mural painting of Songsan-ri Tomb No.6, where the finish layer was made of earth, and identified the physical changes that can occur due to drying, depending on the material properties of the finish layer. I found out through particle size analysis that the finish layer of the mural painting in Songsan-ri Tomb No.6 is about 85.0wt% below silt, about 14.0wt% clay therein, mostly composed of silt and below clay. I also found out through physical property evaluation that surface change rate of samples showed the largest change at 15.5% in reproduced finish layer sample made up of bentonite, followed by 7.8% of reproduced finish layer sample made up of celadon soil, 6.3% of reproduced finish layer sample made up of loess, 6.2% of reproduced finish layer sample composed of white clay and the same order of change in appearance was confirmed in each sample consisted of soil. In addition, it showed the same trend of surface change rate, and the bentonite condition showed the largest change, in the measurement of shrinkage rate and expansion rate. The experiment shows that the finish layer composed of soil is affected by cohesion among particles according to the content of fine parts and the relationship between the agglomeration due to the content of the differentiated part and the stress due to the expansibility depending on the kind of the clay mineral etc. Therefore, it can be concluded that the physical damage occurred in the mural painting finish layer of the Songsan-ri Tomb No.6 is related to the factors such as the material characteristics of the soil and the highly humid environmental change inside the tomb.

• Korean Journal of Heritage: History & Science
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• v.48 no.2
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• pp.142-157
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• 2015

This study examines how traditional knowledge functions in the specific techniques to make pottery in terms of the traditional knowledge on the pottery techniques of Onggi potters. It focuses on how traditional pottery manufacturing skills are categorized and what aspects are observed with regard to the techniques. The pottery manufacturing process is divided into the preparation step of raw material, the molding step of pottery, and the final plasticity step. Each step involves unique traditional knowledge. The preparation step mainly comprises the knowledge on different kinds of mud. The knowledge is about the colors and properties of mud, the information on the regional distribution of quality mud, and the techniques to optimize mud for pottery manufacturing. The molding step mainly involves the structure and shape of spinning wheels, the techniques to accumulate mud, ways to use different kinds of tools, the techniques to dry processed pottery. The plasticity step involves the knowledge on kilns and the scheme to build kilns, the skills to stack pottery inside of the kilns, the knowledge on firewood and efficient ways of wood burning, the discrimination of different kinds of fire and the techniques to stoke the kilns. These different kinds of knowledge may be roughly divided into three categories : the preparation of raw material, molding, and plasticity. They are closely connected with one another, which is because it becomes difficult to manufacture quality pottery even with only one incorrect factor. The contents of knowledge involved in the manufacturing process of pottery focused are mainly about raw material, color, shape, distribution aspect, fusion point, durability, physical property, etc, which are all about science. They are rather obtained through the experimental learning process of apprenticeship, not through the official education. It is not easy to categorize the knowledge involved. Most of the knowledge can be understood in the category of ethnoscience. In terms of the UNESCO world heritage of intangible cultural assets, the knowledge is mainly about 'the knowledge on nature and universe'. Unique knowledge and skills are, however, identified in the molding step. They can be referred to 'body techniques', which unify the physical stance of potters, tools they employ, and the conceived pottery. Potters themselves find it difficult to articulate the knowledge. In case stated, it cannot be easily understood without the experience and knowledge on the field. From the preparation of raw material to the complete products, the techniques and traditional knowledge involved in the process of manufacturing pottery are closely connected, employing numerous categories and levels. Such an aspect can be referred to as a 'techniques chain'. Here the techniques mean not only the scientific techniques but also, in addition to the skills, the knowledge of various techniques and levels including habitual, unconscious behaviors of potters.

• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.100-119
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• 2016

The concept of "original form" and the principle of "maintaining the original form" take center stage in conservation, management, and promotion of the domestic heritage. Introduced in the 20th century, there were little discussion or deliberation about the concept of "original form" therefore it remains a vague and somewhat abstract notion subject to individual interpretation. Without a specified practical meaning, "maintaining the original form" became the fundamental principle for heritage conservation and management in the 1999 version of the Cultural Heritage Protection Act, engendering difficulties in applying the principle in practice. Conceived as an important first step toward resolving the issues stemming from the indistinct concept of "original form," this paper explores the process through which the concept was introduced to Korea and then established and developed as a legal principle for heritage conservation, management, and promotion. While the examination of the related documents and various cases shows that the development of the concept of "original form" has centered on specific periods and architectural styles, this essay explicates that the notion "original form" is commonly used as a term referring to the form at the earliest possible temporality. It also explains that this view emanates from perceiving heritages not as multivalent objects, but as a material object that exclusively carries aesthetic and, more importantly, historical value, and that comes from the history awareness of the times. This essay suggests that the concept "original form" should be reestablished with full consideration of the diverse values of heritage and diverse forms through which heritage can be expressed. After reviewing the feasibility and practicality of the concept a set of concrete guidelines should be presented for application in practice.

• Journal of the Korean Crystal Growth and Crystal Technology
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• v.29 no.5
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• pp.208-214
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• 2019

The glass of $BaO-GeO_2-La_2O_3-ZnO$ system with a transmittance of more than 75 % at mid-wave infrared (MWIR) region in the range of $3{\mu}m$ to $5{\mu}m$ is manufactured and its property is evaluated. After selecting construction that can melt glass through flow button test, $BaO-GeO_2-La_2O_3$ system where 10 mol%, 20 mol% of ZnO were added respectively were melted at $1350^{\circ}C$ for 1 hour and $BaO-GeO_2-La_2O_3$ system of glass was manufactured. Among them, with 20 mol% of ZnO, 16 mol% BaO-56 mol% $GeO_2-8mol%$ $La_2O_3-16mol%$ ZnO system of glass was found to has less than $660^{\circ}C$ of glass transition temperature, more than 1.70 of refractive index, and more than 530 of knoop hardness. Therefore, it is concluded that glass of $BaO-GeO_2-La_2O_3-ZnO$ system of glass with 20 mol% ZnO has good melting conditions at low temperatures and excellent optical properties, thus, can be utilized for special optical materials field.

• Korean Journal of Heritage: History & Science
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• v.38
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• pp.43-107
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• 2005

A ritual ceremony accompanied by a song and dance is called as Kagura in Japan. The word Kagura is originally derived from Kamukura, which means the place where spirits reside. However, later it came to refer to the whole process of the ritual ceremony itself. Through the field studies, this paper examines Takachiho-kagura, helded in Takachiho, known as the village of myths, located in northern Miyazaki-ken in Japan. Kagura takes place all night through in each and every village in Takachiho and it normally runs from the end of November when the harvest season ends until early February the next year. One ordinary house is especially chosen for this ceremony, in which Kagura performs 33 repertoires. Takachiho-kagura is sometimes called as Yokagura, since the performance takes place over-night. A song and dance is performed by ordinary village people called hoshyadong, who inherited Takachiho-kagura. Currently, the ceremony is held in more than 20 villages and designated by the government as "Important Intangible Folk Cultural Property" in Japan. Takachiho-kagura follows the example of rituals held in Sada shrine in Izumo, which is now eastern Hiroshima-ken. It is the dance using a bell, a sword, a fan, which signify Norimono and is usually combined with mask-play called as Shinno. From the shrine of village, itwelcomes the gods who defense their village, called Ujikami and other 8 million gods, called Yaoyorozunokami, in Kagurayado, where Kagura of 33 repertoires is played in order. Kagura starts from dances for attendance of the gods, Hikomai, Daidono, Kamioroshi, performs dances of Amanoiwato, the gate of heaven's cave in Japanese myths, Dazikara, Uzume, Dotori, and continues dances for the old ghosts Shibahiki, Yatsubachi mixed with acrobatics. Finally, this performance ends with dances to send off the gods, Hinomae, Gurioroshi, Gumooroshi, until the dawn the next morning. This paper explores Takachiho-kagura from the perspective of folk performance with ethnography. These days, ecstasy and oracle do not happen in Takachiho-kagura. However, it kept the old form of folk performance as Kagura held in ordinary house. Especially, in Takachiho, remarkable venue of the Japanese myths, Takachiho-kagura is developed artistically. The first field study was held in Gokamura, Iwato-zone and Ashakabe, Mitai-zone between December 6th and December 12th 1997. Afterwards, the second field study was conducted in the area of Shiba and Ashakabe from December 17th until December 19th 1997 and from December 1st until December 10th 2000.

• Korean Journal of Ecology and Environment
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• v.52 no.3
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• pp.245-265
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• 2019

Biotope, which represents the characteristic habitats of living organisms, need to be identified as essential for the efficient creation and sustainable management of urban ecosystems. This study was carried out to provide the basic information for ecological urban planning by analyzing types and attributes of the biotop established throughout the whole area of the Pohang city, a representative industrial city in Korea. The biotop established in Pohang city is composed of 12 types including forests (coniferous, deciduous, and mixed forests), agricultural fields (rice paddy and upland field), green facilities, river, reservoir, bare ground, residential area, public facilities, commercial area, industrial area, roads, and schools. As a result of analyzing the properties according to biotop types, industrial, commercial and residential areas, which represent urban areas, was dominated by introduced vegetation. Moreover the introduced vegetation is usually composed of exotic plants or modified forms for landscape architecture and horticulture rather than native plants, which reflects ecological property of both region and site. As the distance from the urban center increases, the agricultural field showed a form of typical farmland, whereas the closer it is, the more form of greenhouse farming. Natural green spaces were divided into riparian vegetation established along the stream and forest vegetation. Forest vegetation is consisted of secondary forests (seven communities) and plantations (three communities). The urban landscape of Pohang city is dominated by the industrial area. Among them, the steel industry, which occurs large amounts of heat pollution and carbon dioxide, occupies a large proportion. On the other hand, green space is very insufficient in quantity and inferior in quality. This study proposed several restoration plans and further, a green network, which ties the existing green spaces and the green space to be restored as a strategy to improve the environmental quality in this area.

• The Korean Journal of Archival Studies
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• no.28
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• pp.3-33
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• 2011

The Office of Crown Properties was established to manage the property of royal properties as an institution belonging to the Department of the Royal Household in April, 1895. However, as the Great Han Empire established and various policies enforcing the power of the emperor became introduced, the Office of Crown Properties came to be expanded to a large financial agency that would be in charge of various financial sources such as Public Land and Maritime Tax. As the Office of Crown Properties came to manage various income sources, it classified the documents dealing with various government agencies in the Capital and other countryside regions by the unit of Section. The Office of Crown Properties classified the documents by Section and filed them according to Sending/Receiving subject. Sometimes, it filed one kind of document only but sometimes many different kinds of documents were filed together. The types of the document can show the characteristics of the document and the hierarchy of the related agencies through the document name. The fact that they filed the documents with different grades in one file shows that the hierarchy of the agency they dealt with was not the primary standard of the filing and that they did not file the documents by its type. The Office of Crown Properties did not file the related documents in the same file, either. We can say the documents are related if they were corresponded with other agencies while they dealt with a specific item. However, they did not file the related documents in the same file but distinguished sending documents from receiving documents. The reason why they filed different kind documents in the same file and separated the related documents in different file was they took 'whether they were sent or received' as the primary filing standard. They separated the sending documents from the receiving documents first and then filed them according to time regardless of the region or institution. The Office of Crown Properties primarily classified the documents by Section, classified the documents with the standard of whether they were receiving documents or sending documents and then filed them in a file according to the time. It means that the Office of Crown Properties came to create the Official Document Classification and filing system.

• Journal of the Korean Crystal Growth and Crystal Technology
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• v.29 no.3
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• pp.115-122
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• 2019

Electric arc furnace dust (EAFD), which is a dust waste generated in the steel manufacturing process, contains heavy metals. Recently, researches of recycling a large amount of valuable metals such as zinc and iron in EAFD are being actively carried out. In this study, EAFD is used as a substitute for cobalt in blue ceramic pigments without any pretreatment. Then, the synthesized blue ceramic pigment using EAFD was micronized and formulated as a ceramic ink for inkjet printer. The particle size distribution, crystal structure and color characteristics during the micronization process were investigated for the development of ceramic ink. $Co_{0.75}Zn(EAFD)_{0.25}Al_2O_4$ ceramic pigments showed excellent blue coloric properties and monomodal distribution through micronization process. The average particle size of $Co_{0.75}Zn(EAFD)_{0.25}Al_2O_4$ ceramic pigments after 3 hours of milling was $0.271{\mu}m$, which is smaller than $0.303{\mu}m$, which is the average particle size of $CoAl_2O_4$ ceramic pigments without EAFD after 5 hours of milling. Especially, it was confirmed that $Co_{0.75}Zn(EAFD)_{0.25}Al_2O_4$ ceramic pigments showed a color difference (${\Delta}E{^*}_{ab}$) value of 5.67, which smaller than ${\Delta}E{^*}_{ab}$ value of $CoAl_2O_4$ during micronization. These results show that EAFD can be used as a raw material for a blue ceramic pigment by replacing expensive cobalt without any pretreatment.