• 한국수학사학회지
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• 제16권3호
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• pp.27-44
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• 2003

The article is to understand the meaning of numbers on the cuboctahedron which was used in the United Shilla and to find the way to apply it into our current school curriculum. We want to reinterpret the meaning of tile numbers on this cuboctahedron. Also, we introduce this meaning to Symbols and Expressions in the 7th-grade math and expand it to Operations of Polynomials.

• 복식
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• 제55권1호
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• pp.113-128
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• 2005

To find our own individuality, there must be an active study on jeogori which is an unexplored field. Therefore, the purpose of this study is to consider artistic beauty and predominance of jeogori and recognize it as a precious culture, and also encourage interest about traditions. The range of this study is ancient times to Chosun dynasty, and in this study which will be the first part, the range is till the era of the Three Kingdoms. The study about jeogori is based on mural paintings of Goguryeo burial mounds, clay dolls and remains during Shilla, Beakjae, and United-shilla era. The contents of this study is 1. research the origin of jeogori's detail structures and changes of the form, 2. analyze the form and structure of the jeogori in each era, and therefore 3. find the predominance of Goguryeo costume by considering functional and design aspects. Therefore the conclusion of this study about the era of the Three Kingdoms are First, jeogori of the three kingdom era were developed from ancient times caftan style which Korea, China and Japan wore all together. Second, the structure of the jeogori during the Three Kingdom are ryeongeum, gil, somae and seon. Third, there is a special line that starts from the neckline and ends at the hem line which should be called ryeongeum in my opinion. Forth, while researching Goguryeo murals there were both left and right sided open jeogori. therefore, I would like to set up a new theory that during the ancient times to Three Kingdom era, not did China's clothing effected the Korean costume but the costume in east asia shared their forms all together.

• 복식
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• 제54권8호
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• pp.87-100
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• 2004

This study is to understand the types and characteristics of wool fabrics of the Korea. It classifies the types of wool fabrics whose name can be found in the documents by their weaving methods and it researches their characteristics by type, time, usage, and pattern. In Wool fabric of the ancient age were there compound weaving fabric, such as Gyesoo. which is made with embroidery method, Gyegum, which is made with embroidery in gold threads, as well as general fabric, such as plain-weaved Gal, twill-weaved Sagal, gauze-weaved Mosa, Mora, etc. There were also various weaving methods, such pile-weaved Yung, tapestry-weaved Tabdung, or Guyoo, or Dahm, felt-weaved Jeon, etc. It was found in documents that wool fabric such as Gye, Jeon, Dahm were produced in Korea and China. In case of Korea, wool fabric was enormously developed in Koguryo, Shilla, Balhai, United Shilla. Koryo era. Particularly in Koguryo and Balhai, the stock-farming and hunting were the main parts of their occupation. In Koryo era, the weaving technique of wool fabric had made great development. The wool fabric was used not only in clothing but also in official hats, rugs. wall-tapestries, etc.

• 헤리티지:역사와 과학
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• 제41권1호
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• pp.57-78
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• 2008

신라의 화장묘에 관한 선학들의 연구성과를 살펴본 결과 화장묘의 도입과정에 있어서 중국 불교와의 관련성이 지적되었고, 화장묘의 형태변화와 인화문의 시문유무 그리고 장골기의 특징에 따라서 다양한 언급이 이루어졌다. 화장묘는 묘주의 신분에 따라서 이중형과 단독형으로 구분되며 왕경과 지방에 존재하는 화장묘는 그 종류에 있어서 차이를 보인다. 대표적인 장골기인 연결고리유개호는 인화문토기의 시문여부로 볼 때, 8세기~9세기까지 존재했음을 재확인하였다. 다만 9세기대의 연결고리유개호는 원화10년명 화장묘에서 알 수 있듯이 무문양이 주로 사용되었다. 불교신앙의 성행에 따라 704년에 당에서 처음 한역된 "무구정광다라니경"이 8세기 초에 신라로 전래되자 신라인들은 장골기를 사용한 화장묘를 조성하거나 바닷가 또는 산에서 산골을 행하던 장례의식에서 사찰 안에 자신과 가족의 복을 구하고 망자의 극락왕생과 다가올 내세를 기원하기 위한 염원을 담은 석탑을 세우는 조탑신앙으로 사후관념과 장송의례의 변화를 가져오게 된다. 결국 분묘로서의 화장묘가 가지는 의미는 점차 소멸하게 되며, 오히려 화장 후 산과 들에 산골을 한 후 사찰에서 망자를 추복하는 제사를 행하는 형태로 장례의식이 변화되었다고 생각된다. 따라서 화장묘가 가지고 있던 가족의 제사는 석탑의 조성과 사찰에서 이루어지는 법회를 통한 조상의 추모와 개인의 발복을 비는 모습으로 변화되었다. 결국 이러한 사회적 변화가 횡혈식석실분이나 화장묘와 같은 고분조성이 점차 소멸하게 된 원인이었음을 추정할 수 있었다.

• 한국수학사학회지
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• 제18권4호
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• pp.67-84
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• 2005

수학의 문화적 가치와 함께 민속수학에 대하여 알아봄으로서 수학 학습에 흥미를 느끼고 능동적으로 수업에 참여할 수 있게 하며, 특히 신라시대에 사용하였던 경주 안압지에서 출토된 목제주령구를 확률연구를 위해 14면주사위의 여러 가지 확률과 비교하여 오늘날 우리 교육 과정에서 활용할 수 있는 방안을 알아보고, 그 확률에 대하여 연구한다.

• 헤리티지:역사와 과학
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• 제38권
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• pp.285-303
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• 2005

당대(唐代)의 출토유물인 명기와 낙양명원기를 중심으로 당대의 귀족 정원을 고찰한 결과, 산수경관인 가산과 연못이 정원의 중심이 되고, 여기에 누정을 짓고 화목을 심었다. 가산은 치석첩산(置石疊山)하고, 동굴을 만들었고, 명기의 석가산은 산지산세(山地山勢)는 험준, 층만첩장(層巒疊嶂), 녹색이 깔린 자리와 같고, 새들이 혹 산간에서 노래하고, 연못 호반에서 물을 마신다 라고 표현되었다. 연못은 착지인수(鑿池引水)하고 수계가 발달하였으며, 누정 건물로는 청(廳), 당(堂), 관(館), 정(亭), 대(臺), 누(樓), 각(閣), 사(榭) 등이 있다. 조경식물로는 대나무, 연꽃, 모란을 가장 많이 볼 수 있고, 향나무, 소나무, 회, 잣나무, 전나무, 오동, 가래, 복숭아, 오얏, 매화, 살구, 국화, 칡덩쿨 등을 식재했던 것을 알 수 있다. 위와 같이 중국 당대의 원림은 풍부하고 다양하며 뛰어난 원림 양식으로 원림발달의 전성기를 구가하였고, 문화교섭에 의해 동시대의 통일신라의 민간 특히 귀족의 주택 정원도 사절유택(四節遊宅) 등의 기록에 의하면 한국 조경 발달사에서 전성기에 해당될 것으로 유추할 수 있다.

• 복식
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• 제16권
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• pp.111-123
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• 1991

We suppose that Poback-cheok appeared with wearing clothes in the ancient times. At first, man used body as a scale, and it is gradually diversified with social development. It is clear that also in the time of Shilla-Dynasty, the United Shilla-Dynasty and the Goryeo-Dynasty, the system of degree existed in historical relation to that of China. But we don't know it's real length, because there is no recording until the beginning of the Yi-Dynasty. The first recording about Poback-cheok appeared in the time of the King Sejong. Hwangjong-Cheok which is a original vessel of the degree system appears in the 7th years of the King Sejong. In the 12th years of the King Sejong, Ju-cheok, Youngjo-cheok and Joyegi-cheok appeared. In the 13th years of the King Sejong, Poback-cheok appeared as a new changed one. At that time, the length of Poback-cheok is recorded as 44.75cm in chapter of Oye and Jonsoo Pobaek-cheok is recorded as 46.73cm in Jeonjesangjeongso's picture, and it is recorded as 46.80cm in the Kyunggugdaijeon. The scale system is put in good order in the time of King Sejong. But it is confused by the war of 1636 after King Seonjo period. In the 26 th year of King Youngjo, it is reappeared as one of the King Sejong, and it is fixed as 46.80cm. The length is used until the proclamation in the 6th years of the Kwangmu(1902), and then the length of Pobaek-cheok is changed as 48.48 cm, that is measured by a Gok-cheok. After that time, the scale system is very confused during the introduction of new civilization and the Korean-Japanes Unit. So it is used longer or shorter(that is, 49.24cm or 48.91cm). And the metric system is introduced by Japanes in 1926, and it reached the present time. According to use, the actual thing with is used in the end of the Yi-Dynasty is various from 30cm to 70cm. And according to material and craft-man, it can be devided into Hwa-gag scale, Najeon-blacklacquer-scale, bamboo-scale, wooden-scale. The way of expression of measure is always followed by the decimal system. The other half part, except the part of expression of graduation, is put on decorate with a pattern. Also we can see the idea of living on this point.

• 복식
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• 제55권1호
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• pp.129-138
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• 2005

There has been a lot of debate between scholars around the folding screen painting, A Beauty under the Tree[조모입여병풍], a collection of Shosoin, Japan. Even though it is preserved in Japan, its distinguished Chinese feature made many scholars to think it might be made in China and be transmitted to Japan. However, the inspection of the material during $1973{\sim}1975$ has revealed an important fact, that is, the feather used in this screen painting belonged to Japanese bird feather. Moreover, a great amount of documents written in Tenbyo(천평승보, 8th century) period, which was thought to be used as the ground material of this painting. Therefore we can get many evidences saying that this painting was made in japan. In a basic sense, I stand on this side just because it has more evidences. However, we must be careful to make a final conclusion. Especially on the precious things like this painting screen, we must take whole considerations as possible as we can. First of all, we must consider whether Japan could have ability to make this. Second, there could be other possibility that Japanese repair the original one with their feathers or papers. In order to prove this, study on other pieces including painting screens should be done. I just suggest an objective international discussion. Lastly, I can find the common feature between the pieces of Shosoin and the ones of United Shilla, which could be influenced by same impact, the Silk road trade in a broad sense.

• 보존과학연구
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• 통권27호
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• pp.5-22
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• 2006

Mireuksa is a temple that was established in the Baekjea Period and continued around to the 16thcentury. The sites of the temple throughout diverse periods such as the United Shilla Period, KoryuPeriod, and Chosun Period including the one of the early temple in the late Baekjea Period were discovered. In those temple sites, there were lots of diverse artifacts discovered including artifacts in the Bronze Age. In this study, the compositions of four bronze bells excavated from Mireuksa site in Iksan were analyzed and the manufacturing technique of bronze bells was studied through the observation of microstructure. Also, the analytical cases of ancient bronze bells were collected and compared. Furthermore, the provenance study of the bronze bells site was attempted with the Pbisotope ratio. The results aim to offer crucial keys for discovering the aspect of society as well as information about the origin, development, and the route of propagation of ancient technologies. Bronze bell No. 1 showed an unexpected composition as Cu was found 98.5% in it. There were shown twins which were created by annealing and an even phase in the fine grains. It was also shown that bronze bell No. 2 and 4 had a high content of Pb although they showed a similar composition with general bronze bells in terms of Sn content. As shown in the analysis characteristics table of Korean bronze bell of this study, the ancient bronze bell used Pb of which content was limited to 2.12% in general, however, the results showed 15.5% and 13.2% respectively, which is an excessive amount. Asa result of analyzing inclusion in the microstructure of bronze bell No. 2, it was found that sulfide group mineral was used since there appeared S(14.55%). Also, it was proven that $CuFeS_2$ or$Cu_5FeS_4$ was used as a raw material because there was a small amount of Fe. As a result of analyzing inclusion of bronze bell No. 4, the bronze bell sample contained S(13.43%) and it is thought that sulfide group mineral was used, however, it had no Fe. Therefore, it is not connected to $CuFeS_2$ which is the main mineral of Korea. In addition, a strain line was shown with processing in bronze bell No. 2 and 4. As a result of provenance study of bronze bell No. 2 and 4 using the Pb isotope ratio, they or their raw materials are estimated to come from the southern China. Bronze bell No. 3 showed only Cu and Sn, and it is featured with a relatively low amount of Sn(6.63%). The microstructure has only phase, andintergranular corrosion was highly in progress.

• 한국전통조경학회지
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• 제30권1호
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• pp.14-21
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• 2012

본 연구 대상인 강원도 강릉시 연곡동 유등리 뱀골 하류의 너럭바위에 새겨진 '유상대(流觴臺)' 각자와 암각바둑판은 이곳이 유상곡수 놀이와 신선 풍류 행위가 이루어졌던 풍류처임을 확인시켜 준다. 3차에 걸친 정밀답사를 통해 다음과 같은 결과를 얻었다. 통일신라 헌강왕 원년(875)에 도운(道雲)에 의해 창건되었으나 조선 중기 이후 폐허가 되었고, 1954년에 재건된, 백운사 경내에 새겨진 '만월산 백운동천(萬月山白雲洞天)'이란 암각서는 뱀골 계곡에 선도적(仙道的)풍류와 선비문화의 전통이 면면히 스며있음을 보여주는 소중한 단서이다. 최백순이 1934년 편찬한 강릉의 읍지인 동호승람 제2권에 인종원년(1545)을 전후하여 '남전현(籃田縣)의 백운사는 율곡 이이, 성제 최옥 등 명유(名儒)의 강례처(講禮處)'라고 기록되어 있는 것으로 보아 이 공간이 유서 깊은 공간임을 알 수 있다. 또한 동호승람과 완역 증보임영지에 기술된 무오년, 즉 철종9년(1858) 김윤경(金潤卿)이 창건한 백운정(白雲亭)의 존재를 통해 누정 및 동천 경영의 흔적을 추론할 수 있다. 아울러 유상대 각자 바위 계류 건너 입석에 새겨진 '백운정동천(白雲亭洞天)' 암각서는 백운정 건립 3년 뒤인 철종12년(1861)에 조성되었으며, 유상대와 매우 깊은 연관성이 있는 상징적 표식임을 알 수 있다. 이와 같은 정황과 입지성을 전제로 유상대 곡수유구 흔적을 면밀히 검토한 결과 유상대 주변 계류 및 암반에는 수량과 유속을 조절하기 위한 세분석(細分石)과, 유로와 잔을 가두기 위한 홈인 금배석(擒盃石)과 유배공(留盃孔)의 조탁 흔적 등을 발견하였다. 더불어 하단 암벽에서 '오성(午星)'이란 명기 아래 23인명의 각자를 발견하게 됨에 따라 이곳이 20C중반까지 유상곡수연의 성격을 갖는 풍류 문화경관의 거점임을 확신하게 되었다. 따라서 이 공간에서는 적어도 20세기 중반까지 유상대를 중심으로 한 선비 풍류의 문화가 전승된 것으로 추정되며, 이는 '유 불 선(儒 彿 仙)이 습합된 독특한 역사문화공간'이란 측면에서도 심도 있게 검토되어야 할 것으로 본다. 본 연구 성과를 바탕으로 앞으로 23인명의 정체와 유상대 각자 주체 파악 등 유상곡수 등 풍류행위를 기록한 자료 발굴 등을 통해 본 공간의 성격을 보다 면밀히 검토해야 할 것으로 판단된다. 또한 기록에 전해지는 암각장기판 또한 발굴되어야 할 것으로 보이는 바, 현재 콘크리트포장 도로의 파쇄를 통한 추가 유적의 발굴 및 노선 변경 등 원형경관 회복방안 또한 시급히 검토되어야 할 것이다.