• The Journal of the Petrological Society of Korea
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• v.24 no.1
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• pp.25-54
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• 2015

Syenite is not a common rock, unlike granitic rocks formed the major component of the continental crust. The aim of this study is to decipher the occurrences and detailed descriptive characteristics of the syenite distributed in Sancheong area, and to investigate the petrogenesis of the syenitic magma based on geochemical study. The dominant minerals in syenite are alkali feldspar (usually orthoclase and rarely microcline), plagioclase, amphibole, biotite, and quartz. Syenites are found in a wide variety of colors. The anhedral hornblende and biotite filling the boundary of feldspar and quartz indicate that the hydrous minerals were crystallized lately, and that water was insufficient at the beginning of crystallization in magma. According to the analysis of mineral composition, amphibole in syenite is mostly ferro-edenite, and the pressure is calculated as 3.3~4.9 kb with 11.9~17.3 km of emplacement depth. Biotite and pyroxene are plotted in the region of annite and hedenbergite, respectively. Based on petrochemical studies of major elements, syenite belongs to alkaline series, metaluminous, and I-type. On the other hand, the variation patterns of trace and rare earth elements of syenite differ from the patterns of diorite and granite. In the geochemical characteristics, syenite is different from gabbro-diorite spatially adjacent to syenite, as well as granite. These results suggest that each rock has been generated from the different sources of magma. Additionally, based on the experimental data, the syenitic magma can be formed (1) by the partial melting at a high pressure and dry system, (2) when the initial crystallization minerals to be residue with migration of the residual melts separated from the ascending cotectic magma (3) when fluorine compositions to be plentiful in the protolith and/or at depth of the magma. Based on the petrographic characteristics of the syenite, Sancheong syenitic magma may have been formed by partial melting in a dry system.

• Journal of Conservation Science
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• v.23
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• pp.25-37
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• 2008

This study focuses on identification of mineralogical and geochemical characteristics and interpretation of raw material sources for prehistoric chlorite beads excavated from Geoseokri site in Boseong and Buntori site in Haenam, Korea. These prehistoric beads consist of three grayish blue ring-shaped beads, one dark green tubular bead and one greenish black tubular bead that show acicular-columnar and fibrous microtexture. The beads are composed of $SiO_2$, $Al_2O_3$, MgO and FeO as majors and a trace amount of $K_2O$, CaO and Na_2O$. Mineral species is mostly chlorite with a small amount of quartz and feldspar. Quantitative analysis indicates that the grayish blue ring-shaped beads and the dark green tubular bead belong to clinochlore and the greenish black tubular bead does to the boundary between clinochlore and sheridantie. Chlorite is a hydrous phyllosilicate mineral and it shows various microtexture of acicular, sheeted, earthy, granular andfibrous shapes. As its hardness is 2, chlorite is easily engraved due to its softness. It has aesthetic worthy as it shows green, black and greenish gray colors and pearly to greasy luster as well. These factors would lead to the extensive use of chloritic beads as ornaments from prehistoric times. Though the mineral sources of the chlorite beads can be found in central western region of Chungnam and Iwon of Hamnam, those areas are too distant from the two relic sites. Instead, chlorite ores commonly occur as altered products in wall rock alteration zone of every hydrothermal deposit. Therefore, it is probable that raw materials of chlorite were supplied from neighboring hydrothermal environment rather than far deposits. The result needs further study to verify raw material provenance interpretation, supply, manufacture and distribution on the basis of archaeological points of view.

• Journal of the Korean earth science society
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• v.26 no.6
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• pp.524-540
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• 2005

This study has focused on the amount of evaporites and geochemical characteritics of evaporites from the acid mine drainage and on the variation of constituents in acid mine drainage during evaporation. The various colors of evaporites are frequently observed at the rock surfaces contacting acid mine drainage. In order to produce evaporites in the laboratory, acid mine drainages were sampled from the abandoned mine areas (GTa, GTb, GH and GB) and air-dried at room temperature. During the evaporation of acid mine drainages, TDS, EC values and the concentrations of major and minor ions increased, whereas ER and DO values decreased with time. The concentration of Fe increased gradually with evaporation time in the GTb and GB, whereas GH founded in one day but rapidly not detected in the other day after due to removal of Fe by formation-precipitation of amorphous Fe hydroxide. The amounts of the evaporites were produced in amounts of 4 g (GTa), 5 g (GB), 15 g (GH), and 24 g (GTb) from 4 liter of acid mine drainage after 80 days of the evaporation, respectively. In linear analysis from the products with the parameters which are the EC, TDS, salinity, ER, DO and pH contents in field, the determination coefficients were 0.98, 0.99, 0.98, 0.88, 0.89, and 0.25 respectively. If we measure the parameters in field, it would be easy to estimate the amount of evaporites in acid mine drainage. Gypsum and epsomite were identified in all of the evaporites by x-ray powder diffraction studies. Evaporite (GTb) was heated at 52, 65, 70, 95, 150, 250, and 350oC for one hour in electrical furnaces. Gypsum, $CaSO_4\cdot1/2H_2O$ and kieserite were identified in the heated evaporite by XRD. With increased heating temperature, the intensity of the peak at $7.66/AA$ (diagnostic peak of gypsum), the peak at 5.59A ($CaSO_4{\cdot}1/2H_2O)$ and the peak at $4.83{\AA}$ (kieserite) decreased in x-ray diffraction due to dehydration. In the SEM and EDS analysis for the evaporite, gypsum of well-crystallized, radiating cluster of fibrous, acicular, and columnar shapes were observed in all samples. Ca was not detected in the EDS analysis of the flower structures of GTb. Because of that, the evaporite with flower structures is thought to be eposmite.

• Korean Journal of Soil Science and Fertilizer
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• v.42 no.5
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• pp.385-392
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• 2009

This study was conducted to reclassify Namweon series, black volcanic ash soils, in Jeju Island based on the second edition of Soil Taxonomy : A Basic System of Soil Classification for Making and Interpreting Soil Surveys. Morphological properties of typifying pedon of Namweon series were investigated and physicochemical properties were analyzed according to Soil Survey Laboratory Methods Manual. The typifying pedon of Namweon series has black (10YR 2/1) silt loam Ap horizon (0~11 cm) and black (10YR 2/1) silt loam BA horizon (11~72 cm). Bw horizon (72~100 cm) is very dark brown (10YR 2/2) silt loam. That occurs on lava plain derived from volcanic ash materials. The typifying pedon contains 5.2~6.4% oxalate extractable (Al + 1/2 Fe), over 85% phosphate retention, and lower bulk density than $0.90Mg\;m^{-3}$. Ap, BA, and Bw horizons of the pedon have andic soil properties. That can be classified as Andisol. The typifying pedon has an udic soil moisture regime and has a 1,500 kPa water retention of 15% or more on air-dried samples throughout all horizons, and can be classified as Udand. Ap and BA horizons (0~72 cm) have a color value, moist, and chroma of 2 or less, melanic index of 1.70 or less, and 6% or more organic carbon. That meets the requirements of melanic epipedon. That keys out as Melanudand. That has more than 6.0% organic carbon and the colors of mollic epipedon throughout a layer 50 cm or more thick within 60 cm of the mineral soil surface.. Thus, that keys out as Pachic Melanudand. The pedon has a fine-earth fraction that has a water content at 1,500 kPa tension of 12% or more on air-dried samples and has less than 35% (by volume) rock fragments. Thus, the substitute for particle-size class is medial. That has a sum of 8 times the Si (percnt by weight extracted by acid oxalate) plus 2 times the Fe (percnt by weight extracted by acid oxalate) of 5 or more, and 2 times the Fe is more than 8 times the Si. Thus, the mineralogy class is ferrihydritic. Namweon series can be classified as medial, ferrihydritic, thermic family of Pachic Melanudands, not as ashy, thermic family of Typic Melanudands.

• Economic and Environmental Geology
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• v.50 no.4
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• pp.287-302
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• 2017

The carbonate rocks of the Daegi Formation are composed of the limestone at the upper and lower zones, and the dolomite at the middle zone, in which the upper zone has higher CaO content than others. The colors of carbonate rock in the Daegi Formation can be divided into five types; white, light brown, light gray, gray, and dark gray. The white to light gray colored rocks correspond to the high purity limestone with 53.15 ~ 55.64 wt. % CaO, and the light brown colored rocks contain 20.71 ~ 21.67 wt. % MgO. The bleaching of carbonate rocks are not related to CaO composition of the rocks, as light gray rocks tend to be higher in CaO content than those of the white rocks at the lower zone. The pelitic components are also occasionally increased in white limestone than light grey one. $Al_2O_3$ is one of the most difficult content to remove during hydrothermal processes, so the interpretation that the limestone is purified together with hydrothemral bleaching, has little merit. The wide range (over 16 ‰) of ${\delta}^{18}O_{SMOW}$, smaller variation (within 2 ‰) of ${\delta}^{13}C_{PDB}$ are apparent in both the upper and lower zones, which indicate the Daegi Formation had been affected overall by hydrothermal fluids. The K-Ar isotopic age of hydrothermal alteration in the GMI limestone mine is $85.1{\pm}1.7Ma$. Gradual change from grey through light grey to white limestone is accompaned by lower oxygen stable isotope values, which is major evidence that the hydrothermal effect is the main process of the bleaching. Although the Daegi Formation has suffered from hydrothermal activity and increase in whiteness, there is no clear evidence demonstrating the relationship between bleaching and high purity of limestone. The purification of limestone has nothing to do with the hydrothermal activity in this area. Instead, it should be considered that the change of sedimentary environment related to see-level fluctuation which can prevent deposition of pelitic components especially $Al_2O_3$ contrbuted to the formation of the high purity limestone in the upper zone of the Daegi Formation. Considering the evidences such as increase in CaO content of limestone by depth, gradual change from calcite to dolomite at the lower zones, and occurring the high purity limestone at the upper zone, the interpretation of sequence stratigraphic aspect to the formation of the high purity Daegi limestone appears to be more suitable than that of hydrothermal alteration origin.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.239-260
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• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.