• Korean Journal of Heritage: History & Science
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• v.40
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• pp.357-386
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• 2007

At present, thirteen Buddhist bells of Unified Silla are known to the world: Six in Korea, five in Japan and two other bells, and three out of them are impossible to make out its original form. Therefore, we divided the form of Unified Silla Buddhist bells based on the ten other bells, and we tried out to prove the manufacturing technology by the comparison of the research material of Uncheon-dong bell and existing research materials of other bells, in other to find their linkage based on the alloy elemental composition. We divided Unified Silla Buddhist bell into two types: Type I has symmetric apsaras and regular patterns on its face and it was made in early Silla period; type II has asymmetric apsaras and irregular pattern arrangement and made in late Silla period. In particular, Uncheon-dong Buddhist bells is very similar to Komyoji[光明寺] temple bell from ninth century in Japan. It is peculiar that the apsaras on Uncheon-dong bell play vertical music instruments that are never seen in Unified Silla Buddhist bell. Most of Unified Silla Buddhist bell are compounded with Cu-Sn or Cu-Sn-Pb system. From eighth and ninth century, bells were cast with even composition of copper, tin and lead, and the bronze alloy ratio was similar to the record in Gogonggi[考工記], Jurye[周禮], a book from ancient China. Particularly, Uncheon-dong bell is in a rare case of Cu-Sn-Pb-As system. As had been rarely used in Unified Silla Buddhist bells, so we presented the relative research materials. As has the same nature as Pb. Because As easily volatilize at high temperature, it is hard to use. But it has its merit of solidity and durability. Pb enhances fluidity and thereby expresses the patterns more distinct; As makes the bell stronger. The result of lead isotope ratio could not exactly reveal a concrete producing center. However, over the analysis of our samples, hereby we suggest Uncheon-dong bell was made of materials from just one ore deposit.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.230-250
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• 2013

possessed by Dong-A University Museum is designated as Treasure No. 595, and has been known for a more exquisite, delicate and realistic expression and a colorful three-dimensional structure compared to the 'grass and insect painting' work and its value in art history. However, it has not been analyzed and studied in fabric craft despite it being an embroidered work. This study used scientific devices to examine and analyze the Screen's fabric, thread colors, and embroidery techniques to clarify its patterns and fabric craft characteristics for its value in the history of fabric craft. As a result, consists of eight sides and its subject matters and composition are similar to those of the general paintings of grass and insects. The patterns on each side of the 'grass and insect painting' include cucumber, cockscomb, day lily, balsam pear, gillyflower, watermelon, eggplant, and chrysanthemums from the first side. Among these flowers, the balsam pear is a special material not found in the existing paintings of grass and insect. The eighth side only has the chrysanthemums with no insects and reptiles, making it different from the typical forms of the paintings of grass and insect. The fabric of the Screen uses black that is not seen in other decorative embroideries to emphasize and maximize various colors of threads. The fabric used the weave structure of 5-end satin called Gong Dan [non-patterned satin]. The threads used extremely slightly twisted threads that are incidentally twisted. Some threads use one color, while other threads use two or mixed colors in combination for three-dimensional expressions. Because the threads are severely deterioration and faded, it is impossible to know the original colors, but the most frequently used colors are yellow to green and other colors remaining relatively prominently are blue, grown, and violet. The colors of day lily, gillyflower, and strawberries are currently remaining as reddish yellow, but it is anticipated that they were originally orange and red considering the existing paintings of grass and insects. The embroidery technique was mostly surface satin stitch to fill the surfaces. This shows the traditional women's wisdom to reduce the waste of color threads. Satin stitch is a relatively simple embroidery technique for decorating a surface, but it uses various color threads and divides the surfaces for combined vertical, horizontal, and diagonal stitches or for the combination of long and short stitches for various textures and the sense of volume. The bodies of insects use the combination of buttonhole stitch, outline stitch, and satin stitch for three-dimensional expressions, but the use of buttonhole stitch is particularly noticeable. In addition to that, decorative stitches were used to give volume to the leaves and surface pine needle stitches were done on the scouring rush to add more realistic texture. Decorative stitches were added on top of gillyflower, strawberries, and cucumbers for a more delicate touch. is valuable in the history of paintings and art and bears great importance in the history of Korean embroidery as it uses outstanding technique and colors of Korea to express the Shin Sa-im-dang's 'Grass and Insect Painting'.

• The Journal of Korean Philosophical History
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• no.56
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• pp.9-46
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• 2018

Seongdeokdaewang-Shinjong, the 29th National Treasure, is highly valuable as a study material in various aspects including the histories of ideology, Buddhism, politics, art-craft, Chinese character study, calligraphy, epigraphy and so on of the mid-time of Shinra. Compared with the people's interest in the Shinjong, however, the studies on the words carved on it have not been yet deepened. Such studies have not been yet overcoming the phase of decoding and translation of the words. Today, it is required to analyze and study the words systematically. This article starts with such critical mind. That is why the subtitle of this article is Research on the Background of Thoughts considering that this study must be followed by its 2nd study. This study has totally reviewed the decoding and annotation works that have been done so far. Byeonryeomun (騈儷文: a writing style of Chinese character) has been also studied on its written patterns. As a result, approximately 20 problems have been found and corrected. Especially, such key phrases as '工匠?模' and '日月?暉' have been translated in a new way to spotlight the importance of translation of the carved words. The words carved on the Shinjong are highly valuable to study in the aspect of ideology history. The words fully show not only Buddhist thoughts, Confucian thoughts and Taoist thoughts but also Korea's own unique thoughts, which are all melted in the words without any obstacle to each other. In general, they are highly philosophical words. The words are unique especially in the aspect: They give a meaning to the Shinjong based on the keyword Won-Gong (圓空: circle and empty) and suggest the key point of Buddhist thoughts and governing philosophy altogether. That is, they imply that King Seongdeok's political ideology and governing principle are connected to Pungryudo (風流道), Korea's own unique philosophy. This implication is key evidence that makes it possible to trace the context of transmission of Pungryudo. You should not miss also the phrases implying that there was a big argument between reform group based on Confucian thoughts and conservative group based on Korea's own unique thoughts.

• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.4-19
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• 2016

Jangkei(狀啓) made to the Royal Court by Yi Sun-sin during the Japanese invasions of Korea is handed down under the names of Jangcho(狀草), Keicho(啓草), Keibon(啓本) and others depending on copying patterns of those times and later times as it was copied out by a third person. In particular, "YimjinJangcho(壬辰狀草)" which Yi drew up during his service as the director of the naval forces in Jeolla Jwasooyeong is known as the most popular Jangkei. "ChungMinKongKeicho" which has been re-located recently after loss is a national treasure level cultural property as valuable as "YimjinJangcho" and should be treated as a model of Yi Sun-sin's other Jangkeis by next generations. As of now, however it is not confirmed if it is a totally new book related to Yi Sun-sin or is supplementary to the lost Jangkei, this study decided to ascertain relevant information through a bibliographic discussion on the question. "Chungmin(忠愍)" was the title that was used after the death of Yi Sun-sin, and "ChungMinKongKeicho" was completed when Jangkei was copied in 1662. 12 books that would not be found in YimjinJangcho are included in the book and such books are also present in the Jangkei supplement which has been known lost so far. What should be especially focused on here is that the forms and contents of these (11) photographs that Japanese shot from "ChungMinKongKeicho" in 1928 turned out to be completely identical to those of the original copy. The point that Korean History Compilation Committee added the 12 books to Jangkei as referring to the book as "One Keicho(啓草) partially copied(抄寫) in separation" and that Cho Sung-do categorized the 12 books into a supplement and others can be solid proofs to make the Jangkei supplement called "ChungMinKongKeicho". In terms of "ChungMooKongKeicho", since it consists of 62 books in total, it is not reasonable to see the book as Jangkei supplement which has the extra 12 more books for itself. "ChungMooKongKeibon" in "ChungMooKongYusa" was written with a total of 16 books. In the body, Yidumun is only clearly present, and the three books in the later part are same with the original copy of "ChungMooKongKeicho". "YimjinJangcho" by Korean History Compilation Committee has been the only book in which Yidumun was observed so far but now, it is assumed that the publication date of "ChungMooKongKeibon" goes before that of the former. The counterargument to the opinion that "ChungMinKongKeicho" is the supplement to Jangkei is based on Lee Eun-sang's comment "One page of a log in the Jangkei copy supplement." At first Seol Ui-sik introduced a piece photo of the rough draft of "MoosulIlki" in a drawing form through "Nanjung Ilkicho by Yi Sun-sin" in 1953. Lee Eun-sang also added two pages of the handwritten Yilkicho in the Jangkeichobon supplement to "MoosulIlki" and for the second time, the phrase "One page of a log written during the last 10 days after the Jangkei copy supplement" and "Supplement" were used. Those views are originated from the comment "One photograph of the rough draft of "MoosulIlki"" which Seol Ui-sik introduced without knowledge of the exact source. Lee Eun-sang said, "One page of a log in the Jangkei copy supplement" because Lee mistook "ChungMooKongYusa" for a book related to Jangkei. Since it is the wrong argument different from the actual situation of the original copy, if it has to be corrected, it should be rephrased "One page of a log in ChungMooKongYusa." After all, the source of the counterargument is the mistake because there has never been the Jangkei supplement with one page of a log included. All the Jangkeis other than "YimjinJangcho" can be said as the Jangkei supplements but still, they are separated from the other Jangkeis for the extra 12 more books are present in the commonly-called Jangkei supplement. Due to that reason, the argument on how "ChungMinKongKeicho" with the 12 books added is the popular Jangkei supplement should be considered more reasonable.