• Journal of Conservation Science
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• v.28 no.4
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• pp.305-319
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• 2012

The Myeongdongseongdang Cathedral, which was designated as Historic Site No. 258 in Korea, is a representative cathedral of Korean Catholic church designed by a French priest Eugene-Jean Georges Coste and completed in 1898. It is a Gothic-styled architecture constructed with bricks and stones. Lithological and mineralogical analyses determined that holy stone relics were made of marble and granite, and foundation stones are of pink feldspar granite. Deterioration mapping and ultrasonic measurement revealed main weathering and damage were exfoliation (40%) and black discoloration (37%) in the holy water basin, and exfoliation (6%) and discoloration (46%) in the exterior foundation stones. Ultrasonic velocity of the stones were calculated as 3,525m/s in the holy water basin and 2,795m/s in the exterior stones that indicated these stones were sorted into moderately to highly weathered rock. This was resulted from moisture and atmospheric pollutants around the cathedral.

• The Journal of Engineering Geology
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• v.18 no.4
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• pp.537-543
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• 2008

To effectively delineate the foundation of stone relics by GPR and seismic refraction methods, a geological engineering model was constructed with alternating layer of soil and gravel to a depth of 3 m. This study was aimed at mapping the boundaries of model ground structure and interfaces of alternating layer using the various frequency antenna in GPR survey and seismic velocities. Compared to the resolution from the high frequency antenna, the image resolution from the survey using 100 Hz antenna is the lower, but with the deeper image coverage. On the contrast, the deeper structure was not mapped in the higher frequency data due to higher absorption effect, but the shallow layered zone was distinctively resolved. Therefore subsurface images were effectively provided by integrating the data with 100 MHz and 450 MHz antennas for the deep and shallow structures, respectively. Regarding the seismic refraction data, the boundaries of the model and interface of the alternating layers were not successfully mapped due to the limit of the survey length. However, the equivalent contours of low velocity extended deep as considerable velocity contrasts with surrounding ground.

• Science of Emotion and Sensibility
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• v.26 no.4
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• pp.71-92
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• 2023

This study investigates the symbolism and meaning of the bead design, its relationship with the Silla culture, and the conditions of glass bead manufacturing to verify the theory of Silla's production of Silla face-inlaid glass beads with excellent artistry and technology. The research method includes investigating the design analysis, ancient documents, myths, relics, glass, and metal production techniques. Moreover, Hongshan cultural relics and other cases of inlaid glass beads were collected. There are records in the literature that the people of Makhan, Buyeo and Silla of ancient Korea people considered beads as treasures and used them for accessories. It was confirmed that all the design elements of the bead-patterned hair topknot, golden crown, birds, and flower trees were closely related to the myth of Kim Al-ji of Silla, the oviparous tales and the sacred birds and divine beasts of the north. Moreover, the pattern and arrangements were found to be similar in other Silla relics. The origin of beads and face pendants was Hongsan culture, and a stone cast for beads was discovered in Bukpyo of Gojoseon, the lower-level culture of Hajiajeom. In addition, excavating inlaid glass beads from Sik-ri tombs of Korea and a face-inlaid glass bead from Toganmori tombs in Japan confirms the theory of Silla's production. The fact that the Baekje people of ancient Korea had a glass bead manufacturing office in Japan in the fifth centuries suggests that the Silla people also had a manufacturing plant in Java, Indonesia, because this place was a crossroads of Silla's Sea Silk Road and a source of raw materials and labors with a close relationship to Silla. Therefore, the face-inlaid glass bead was indeed self-made by Silla, who possessed the tradition of bead myths and hair topknot, and the high-level skills such as gold crowns and metal inlays.

• The Research Journal of the Costume Culture
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• v.18 no.5
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• pp.960-976
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• 2010

Even though Joseon Dynasty strictly identified between military and civil officials, the dress and its ornament have been studied only based on embroidery emblems that are correctly identified between military and civil officials. Thus, this study intends to research the features of the only military officials uniform, Cheollik, different from the civil officials's identifying them with other features shown from the records, unearthed relics, stone statue, Joseon-tongsinsa-haengnyeoldo(Illustration of Joseon Delegation to Japan), etc., and its results are as follows: First, for wearing examples of the military officials, from the facts that they had worn mainly ordinary clothes, etc. on announcement of military service examination. There was no difference between military and civil officials's clothes by Daejeonhusokrok and the other documents, and there was an assertion that the form of the military and civil officials's clothes should be different by the document, Hongjejeonseo, in the latter term of the Joseon Dynasty. It is presumed that length, width and shape of sleeves might have been different. Second, unearthed Cheollik of the military officials are mostly from the 16th~17th centuries and most of them have removable sleeves according to statistics. The skirt had an opening and one or two slits. Various textiles were used. Third, military official statues of high governor wear small caps and helmets. They wear Cheollik with the collars same as the collar of Bangryeong and Jikryeong, which is also called Dopji Cheollik. It would be considered as they wear the Bangryeong on top of the Cheollik. Fourth, militarly officials described on the Joseon-tongsinsa-haengnyeoldo(Illustration of Joseon Delegation to Japan) wear Cheollik, Rip, Donggae, Okro, Hongsadae, Hwando, Deungchae.

• Korean Journal of Heritage: History & Science
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• v.53 no.4
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• pp.216-233
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• 2020

This study set out to review tomb culture in the Gyeongju region during the Bronze Age, and also examine the patterns of dolmens during their end phase. For these purposes, the study analyzed 18 tomb relics from the Bronze Age and nine from the early Iron Age. Gyeongju belongs to the Geomdan-ri cultural zone. Approximately 120 tombs from the Bronze Age have been excavated in the Gyeongju region. There are fewer tombs than dwellings in the region, which is a general characteristic of the Geomdan-ri cultural zone. Although the number of tombs is small, the detailed structure of the dead body is varied. During the Bronze Age, tombs in the Gyeongju region were characterized by more prolific construction of pit tombs, dolmens with boundaries, and stacked stone altars than were the cases in other areas. There is a great possibility that the pit tombs in the Gyeongju region were influenced by their counterparts in the northeastern parts of North Korea, given the spindle whorl artifacts buried at the Dongsan-ri sites. Dolmens with boundaries and stacked stone altars are usually distributed in the Songguk-ri cultural zone, and it is peculiar that instances of these are found in large numbers in the Gyeongju region as part of the Geomdanri cultural zone. Even in the early Iron Age, the building of dolmens with boundaries and stacked stone altars continued in the Gyeongju region under the influence of the Bronze Age. A new group of people moved into the area, and they crafted ring-rimmed pottery and built wooden coffin tombs. In the early Iron Age, new rituals performed in high places also appeared, and were likely to provide venues for memorial services for heavenly gods in town-center areas. The Hwacheon-ri Mt. 251-1 relic and the Jukdong-ri relic are ruins that exhibit the aspect of rituals performed in high places well. In these rituals performed in high places, a stacked stone altar was built with the same form as the dolmens with boundaries, and a similar rock to the cover stone of a dolmen was used. People continued to build and use dolmens with boundaries and stacked stone altars while sustaining the Bronze Age traditions, even into the early Iron Age, because the authority of dolmens was maintained. Some dolmens with boundaries and stacked stone altars, known as being Bronze Age in origin, would have continued to be used in ritual practices until the early Iron Age. Entering the latter half of the second century B.C., wooden coffin tombs began to propagate. This was the time when the southern provinces, including the Gyeongju region, were included in the East Asian network, with the spread of ironware culture and the arrival of artifacts from central China. Around this time, dolmen culture faded into history with a new era beginning in its place.

• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.56-70
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• 2022

Tombs No. 39 and No. 63 in Gyo-dong, Changnyeong, are unique in the Changnyeong area in that they do not have additional burials because they are hoenggu-style tombs with an entrance on the north side. This study tried to understand the nature and meaning of the two separate stone walls at the entrance of the tomb along with the burial process of the tomb. These two stone walls mark small tombs built independently within a large tomb, with stone wall No. 39 stone wall No. 3 (No.39-3) and No. 63 stone wall No. 3 (No. 63-3). Both units are located in the middle of the northern wall of the burial body part and share one wall with the burial body part wall stone. All animal fluids inside the stone wall were identified. In particular, it was estimated that at least three dogs were buried as a result of identification of animal fluids No. 63-3. Above all, these animals have their heads facing outward with their backs to the main occupants, and do not overlap in a limited space and are placed side by side. Changnyeong Gyo-dong No. 39-3 and 63-3 were created in the process of building the burial body, and although they are independent relics, they form a subordinate relationship in that they were built along the main burial within one tomb. In addition, it is coercive in that it is placed in an orderly manner according to a certain direction in a state that has not been dismantled after killing an animal. Therefore, It is understood to be the SHUNJANG of dogs. Studies on animal fluids excavated from tombs in the Three Kingdoms period are interpreted as animal stewardship, sacrificial collection, and animal sacrifice depending on their location, and this is known as a series of animal sacrifice rites, namely, animal stewardship and sacrifice. This recognition is based on material objectification of animals, such as food or sacrifices. However, Changnyeong Gyo-dong No. 39-3 and 63-3 are different in that they recognize animals as spiritual beings in the process of funeral rites and are closely related to the ideology that there is life after death. In addition, analysis of the location and directionality of the remains is also required from multiple angles. These two SHUNJANG correspond to the entrance to the tomb, and the location is the most open space at the entrance. The appearance of a dog looking outward, etc., can also be interpreted as the meaning of protecting the tombs and byeoksa. This appearance can be compared with the dog depicted in a mural in a Goguryeo tomb that reflects the ancient world's thought and stone figures excavated from the tomb of King Muryeong of Baekje, and it is also consistent with the meaning of the JINMYOSU protecting the ancient tombs. This suggests that a multifaceted study on animal fluid burial remains is needed in the future.

• Journal of the Korean housing association
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• v.14 no.5
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• pp.19-26
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• 2003

The purpose of this paper is to examine and analyse the features of plan type and space composition of the Siheyuan(courtyard house) which is one of the most remarkable types of the traditional dwellings in China. With the passage of time this house developed into one of the chinese house style. The technique of Siheyuan's spatial composition goes so far back in the New Stone Age. The relics of this are the colony layout, the system of four sides, the layout type of a palace, the picture of lacquered ware, the pictured brick, the earthenware of house type, the cave painting, the paintings of painters and others. The fundamental spatial conception of it arranges one or more courtyards to compose, sometimes in a very complex way, a general walled compound. The main longitudinal axis is mainly north-south, but the chief buildings, or halls are always placed transversely to it. These rectangular buildings mayor may not connect, by means of open galleries variously planned, with rows of smaller buildings flanking the courtyards on both sides. On this system, enlargement is never carried out by adding to height, but by continual duplication of existing units, and growth in breadth or preferably depth. The need for family security is thought to have led to the development of this rectangular houses with walls mainly blank on the outside, defensible entrances, and public service facilities in the center of the houses.

• Korean Institute of Interior Design Journal
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• v.17 no.2
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• pp.47-55
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• 2008

This paper attempted to analyze the Sainte-Chapelle(1242-48) in Paris in terms of Gottfried Semper's theory of four elements. For this aim, this study was divided into two parts: the first part regarding Semper's theory, which included not only the theories of four elements and four technical arts but also the concepts of the two types of primitive dwellings; the second part regarding the Sainte-Chapelle, composed of the overall study and the characteristics of the building and finally the analysis of it in terms of Semper's theory. The Sainte-Chapelle was regarded as a real example of Semper's four elements, in that the building was composed of a sacred altar containing Christ's earthly relics, stereotomic bases made of stone, a tectonic structure featuring linearity, and textile stained glass as an elaborate enclosure. While the bases and the structure were employed as serving elements, the altar and the stained glass played critical roles to make a whole space immaterial and monumental. These two elements served to reveal not only biblical typology but also the religious and political vision of Saint Louis to establish Paris is as a new Holy Land.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.22-43
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• 2023

This paper deals with the stone standing Avalokitesvara statue in Jeonghyesa Temple that was created by Mangong in 1924. The stone standing Avalokitesvara statue of Jeonghyesa Temple is the earliest extant Buddha statue produced by Mangong, and symbolism was given to Jeonghyesa in the process of its reconstruction. So far, there has been no study that has approached ideas and beliefs through Buddhist studies led by Mangong and specific relics. In order to proceed with this study, Mangong's legal words and anecdotes and newspaper articles during the Japanese colonial era were used to trace the dynamics of Jeonghyesa and Sudeoksa during Mangong's reign, and to investigate the effects obtained from the creation of the large Bodhisattva statue and the meaning of its location. In addition, an interview was attempted with the descendants of master, who were in charge of the sculpture at the time, to confirm the exact construction period and the list of craftsmen. It is judged that the stone standing Bodhisattva statue of Gwanchoksa Temple has been influenced by the double covering and square crown seen in the standing stone statue of Avalokitesvara Bodhisattva of Jeonghyesa Temple, the large hands compared to the body, the proportion between the head and the body, and the sense of enormity felt in the body like a stone pillar. Therefore, we looked at how the standing stone Bodhisattva statue of Gwanchoksa Temple, which was produced in the early Goryeo Dynasty, could have influenced the creation of the Bodhisattva statue in the modern period. A multilateral analysis was attempted on how the image of the Gwanchoksa Bodhisattva statue, which was used as a symbol representing Chungcheongnam-do in the Chosun Exposition held in 1929 and the visit to Gwanchoksa Temple, which began with the laying of the railroad during the Japanese colonial period, was used from the viewpoint of the succession and transformation of the style. With this study as an opportunity, it is hoped that the understanding of the prehistoric Mangong representing the modern period and the horizon of Korean Buddhist sculpture research in the modern period will be broadened.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.246-263
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• 2019

The stone Buddha statue of Sangunsa Temple at Bukhansan in Goyang, Gyeonggi Province, is an excellent example of stone Buddha statues created in the late 15th century. On the base of the figure, there is an inscription, which informs that it was produced in 1497. In recognition of this significance, it was recently designated as a tangible cultural asset in Gyeonggi-do. Thus, this paper tried to evaluate the value of the statue by analyzing iconography and style. The characteristics of a typical 15th-century style that the Buddha statue of Sangunsa Temple shows are the form of ushnisha, the way clothes are worn, the form of a w-shaped chest muscle, and the simple lotus pedestal. On the other hand, the elongation of the waist and the disappearance of the waistband on undergarments are new forms of Buddha statues in the 16th century. Besides, parting the hair in the middle of the head and leaf-shaped short ribbon draped on undergarments are unique features that only appear on the statue of Sangunsa Temple. Sangunsa has been known to be built in the early 18th century based on Bukanji compiled by Seongneung in 1745, and Bongeunbonmalsaji composed in 1943. However, the statue was created in the late 15th century, before the establishment of the temple in the early 18th century. Therefore, this paper briefly reviewed the history of Sangunsa Temple, focusing on the initial period, referring to the historical sites and the relics that were passed on to the temple, as well as the literature records. The data newly referred to in the study are as follows: Sangunsa Stone Pagoda, presumed to be from the Goryeo Dynasty; the Stone Buddha Statue of Sangunsa; Wooden Amita Triad Buddha Statue of Sangunsa. According to the data and contrary to previously-held beliefs, Sangunsa Temple is believed to have been operating since the Goryeo Dynasty. It can be inferred through analysis of the stone Buddha statue of Sangunsa Temple that the size of the Temple before the 18th century was not very large.