요동지역 비파형동검문화의 청동 네트워크와 교류

이후석(Yi Hu-Seok) 한국고대학회 2021 先史와 古代 Vol.- No.66

요동지역 비파형동검문화의 변동 과정에서 확인되는 상호작용의 네트워크에는 정치체의 교류 또는 권력 관계가 반영되어 있어 주목해야 할 필요성이 있다. 특히 청동 네트워크에는 엘리트층의 권력 기반으로 연결되는 기술이나 이념 등이 밀접하게 관련되어 있어 주목된다. 비파형동검문화의 형성 단계에는 요하 평원지역과 요하 상류 방면과의 청동 네트워크가 주목된다. 비파형동검문화는 요하평원 동쪽 구간에서 기원전 10세기경부터 형성되기 시작하였는데, 이는 장인집단과 엘리트층이 청동 제련기술을 바탕으로 검의 이념 체계를 수용하여 비파형동검을 만든 것이 직접적인 계기였다. 비파형동검문화의 전기 단계에는 요동지역에서 길림~남한지역으로 청동 네트워크가 확장되며, 요북 동부지역(철령)과 요동 남단지역(대련)에서 거점 유적군이 확인된다. 무기류와 공구류는 요북지역에서 남한지역까지 확산되며, 선형동부 같은 일부 공구류는 요남지역을 거쳐 산동지역까지 전해진다. 요동 남단지역에는 요서계통 유물들도 확인되고 있어 광역 네트워크가 형성되어 있었음을 알 수 있다. 비파형동검문화의 후기 단계에는 요중지역을 중심으로 청동 네트워크가 재편된다. 청동 유물들은 요동계통 위주에서 요서계통 중심으로 일변하며, 요중지역에서 주변 지역으로 확산되는 양상들이 뚜렷하게 확인된다. 특히 정가와자유형의 네트워크가 북한 방면으로 확산되는 한편 산동지역과도 동검 같은 무기류를 교류하는 것이 보이는데, 이는 고조선의 발전 과정과도 밀접하게 관련되는 양상으로 추정된다. The interaction network identified in the process of change in Liadong Area the Mandolin-shaped Bronze Dagger Culture is notable for its reflection of polities’ exchanges or power relations. The Bronze Network deserves particular attention because it is closely related to the elite reacting, new technology, or ideologies connected to the power base. The bronze network that arose between the Liaohe Plains and the upper region of the Liaohe River during the formation of the Mandolin-shaped Bronze Dagger Culture is noteworthy. The Mandolin-shaped Bronze Dagger Culture began as the artisan group around 10 BCE in the eastern part of the Liaohe Plains, where the elite adopted the ideological system of the sword to create mandolin-shaped daggers using bronze-smelting technology. In the early the Mandolin-shaped Bronze Dagger Culture, the bronze network expanded from the Liadong area to the region between Jilin and South Korea; central sites have been identified in the eastern part of Liaobei(Tieling) and the southern tip of Liaodong(Dalian). Weapons and tools spread from the Liaobei area to South Korea. Some tools, including the fan-shaped bronze axe, reached Shandong through the Liaonan area. Liaoxi-style artifacts have also been found in the southern tip of Liaodong, implying that there was a broad network at the time. In the later the Mandolin-shaped Bronze Dagger Culture, the bronze network was reorganized around the Liaozhong area. Bronze artifacts shifted from Liadong-style to Liaoxi-style, with a wide diffusion from the Liaozhong area to surrounding areas. It is noteworthy that the network of Zhengjiawazi Assemblage, which is estimated to be closely related to the development of Old Joseon, spread toward North Korea and exchanged weapons such as bronze dagger with Shandong area.

區分磨硏 技術의 出現과 展開 -韓·日 出土 武器形靑銅器를 中心으로-

허준양 영남고고학회 2017 嶺南考古學 Vol.- No.77

The emergence of the section polishing technique continues to form the Korean type bronze dagger. According to the survey, the A1 type section polishing technique is equally found in the east Zhou(Dongju) type bronze dagger in China and Korean type bronze dagger in the Korean peninsula. Therefore, the emergence of the section polishing technique seems to have been reserved and needs constant reviewing in both bronze daggers. Furthermore, reviewing the excavation pattern, it is seen that the rise in the number of cases that the Korean type bronze dagger of the section polishing technique coexists with the polished stone arrowhead during the late Bronze Age. This means Korean type bronze daggers were buried instead of the polished stone arrowhead in the Korean peninsula and this phenomenon is related to the spread and acceptance of the local group. The weapon-shaped bronze implements of section polishing were excavated in association with the coarse-lined geometric bronze mirror in Korean peninsula and fine-lined geometric bronze mirror in Japan. This aspect is related to the change of the group with the fine-lined geometric bronze mirror, which is identified in the shift of the group. In addition, the Korean type bronze daggers, excavated in Japan are connected to the change of the Korean type bronze daggers into the ritual bronzes. In Korean peninsula, weapon-shaped bronze implements were transferred to the ceremonial action of a host or small-scaled rituals, while in Japan, large-scaled ceremonial action was involved with the weapon-shaped bronze implements. This makes us estimate that the change of the weapon-shaped bronze implements into the ritual bronzes in Japan began in Korean peninsula. Japan's weapon-shaped bronze implements originated from those in Korea from the bronze production technique to the section polishing technique. This is recognized as the acceptance of advanced culture in association with the move of the group. 구분마연 기술의 출현은 한국식동검의 성립으로 이어진다. 필자의 조사에 따르면 중국의 동주식동검과 한반 도의 한국식동검에서 A1식 구분마연 기술이 동일하게 관찰된다. 때문에 구분마연 기술의 출현은 유보적이며양 동검을 재검토할 필요가 있다. 한반도의 출토 양상을 검토하면 한국식동검은 청동기시대 후기에 마제석촉과 공반되는 사례가 증가한다. 이는 마제석검을 대신하여 한국식동검이 부장된 것으로 볼 수 있으며 이는 재지집단의 채용으로 이해된다. 구분마연 무기형청동기는 한반도에서 多鈕粗文鏡, 일본에서 多鈕細文鏡과 공반되어 初出된다. 이러한 공반 양상은 한반도에서 다뉴세문경을 소유한 집단의 변화와 밀접한데 이는 집단의 이주로 볼 수 있다. 양 지역에 구분마연 기술의 존재는 상호 연동되고, 일본 출토 무기형청동기의 祭器化는 한반도에서 전래된 것으로 파악 된다. 즉, 한반도에서는 所有者 및 小規模의 祭祀 行爲를 韓國式銅劍과 祭器形靑銅器, 일본에서는 大規模의 祭 祀 行爲를 武器形靑銅器와 銅鐸에 이입된 것이다. 이와 함께 일본 출토 청동기의 ‘ ’표식, 청동기 부장 양상, 고인골 출토, 청동기 납동위원소 등은 한반도와 직·간접적인 상호 관련성이 인정된다. 결국 일본에서 무기형청동기는 청동기 제작 외에 구분마연 기술 및 기능까지 한반도에서 연원하였다. 이는 集團의 移住와 密接하고, 先進文化의 受容으로 이해된다.

마곡사 오층석탑 상륜부 금동보탑의재질특성과 조성시기 해석

이찬희 ( Chanhee Lee ),조영훈 ( Younghoon Jo ),전병규 ( Byungkyu Jun ) 공주대학교 백제문화연구소 2015 백제문화 Vol.1 No.52

마곡사 오층석탑 상륜부를 구성하는 금동보탑의 소지금속에는 청동의 주성분인 구리, 주석, 납뿐만 아니라 아연(최대 13.4wt.%)을 첨가하였다. 재료학적으로 아연이 주석보다 많아 전형적인 청동으로 보기 어렵고, 황동으로 분류하기에는 아연의 함량이 적다. 따라서 보다 넓은 의미의 동합금제로 보는 것이 적합할 것이다. 소지금속의 합금기술은 고대에 가장 많이 사용했던 Cu-Sn-Pb의 3원 합금을 능가하는 것으로, 상륜부의 용도와 성격에 최적화된 방법이 적용된 것으로 판단된다. 상륜부는 외부에 한해 금이 매우 높은 함량(40.3~93.8wt.%)으로 검출되었고, 육안으로도 도금 층의 일부분이 뚜렷이 관찰되는 것으로 보아 전체적으로 금을 이용해 도금한 것을 알 수 있다. 이와 함께 도금기술을 의미하는 수은이 확인되는 것으로 보아 아말감기법이 적용된 것을 지시한다. 따라서 마곡사 오층석탑의 상륜부는 동합금 소지에 금도금이 적용된 “금동보탑”으로 칭하는 것이 타당하다. 이 금동보탑은 납이 비교적 높게 검출되는 것으로 보아 주조에 의해 제작된 것을 알 수 있으나 주석의 함량이 10% 이하이다. 따라서 주조성을 보완하기 위해 아연과 납을 첨가한 것으로 판단된다. 이 금동보탑의 아연 함량은 여말선초 소금동불과 거의 유사하다. 또한 조선시대의 상평통보처럼 인위적으로 황동을 유도한 것이 아니라 청동 합금에 아연을 첨가함으로써 적은 양의 주석 기능을 대체하여 보강한 것으로 볼 수 있다. 따라서 금동보탑의 제작 시기는 한반도의 금속 아연 제련이 시작된 17세기 이후보다는 노감석을 이용한 칼라민 공정으로 합금이 가능한 14세기로 보는 것이 적합할 것으로 사료된다. 마곡사 오층석탑은 고려시대 후기의 특징을 잘 보여주는 것으로 보아 석탑이 가장 먼저 건립되었고, 이때 금동보탑이 아닌 별도의 상륜부가 있었을 것으로 추정된다. 금동보탑은 14세기 원나라와의 교류를 통해 불전 봉안용 또는 사찰 공예탑으로 별도 제작된 것으로 보인다. 그러나 석탑은 1782년 대형 화재 시 붕괴되면서 탈락과 박리·박락이 상당수 발생하였고, 19세기 복원 과정 중에 봉안용 금동보탑이 석탑의 상륜부에 조성된 것으로 해석된다. The upper part gilt bronze pagoda in the Five-story stone pagoda of Magoksa Temple contained zinc (up to 13.4wt.%) as well as copper, tin and lead as the main components of bronze. In terms of material, zinc was more than tin. It is not bronze, however it is also hard to be classified as brass due to less content of zinc. Therefore, it seems proper to regard it as copper alloy. Gilt technology of the metal exceeded Cu-Sn-Pb ternary alloys which was the most frequently used in the ancient period, and it seems to apply the optimized method for the use and characteristics of the upper part. In the upper part, gold contents was very high (40.3 to 93.8wt.%) in the case to exterior, and some gilt layers were apparently observed visibly. Thus, overall gold gilt was made. In addition, mercury that indicates the gilt technology was found, which means amalgam technique was applied. Accordingly, it is appropriate to regard the upper part in the Five-story stone pagoda of Magoksa Temple as ‘gilt bronze pagoda’ with copper alloy material. This gilt bronze pagoda has higher lead contents, which indicates that it was manufactured by casting. However, the content of tin was less than 10%. Accordingly, zinc and lead seemed to be added to complement the castability. Zinc contents of gilt bronze pagoda were very close to small gilt bronze Buddhist statues at the end of Goryeo Dynasty and the early Joseon Dynasty. Like ‘Sangpyeongtongbo’ in Joseon, it did not induce brass artificially, however added zinc to bronze alloy to replace the function of less amount of tin. Accordingly, the manufacturing period of the gilt bronze pagoda seems to be the 14th century at a time when gilt was made possible with calamine process instead of 17th century when metal zinc smelting started in the Korean Peninsula. The Five-story stone pagoda of Magoksa Temple showed the characteristics of the later period of Goryeo Dynasty, and the stone pagoda was built first. At this moment, there seemed to have a separate upper part rather than gilt bronze pagoda. Gilt bronze pagoda seemed to be manufactured separately in the 14th century through the exchange with the Won Dynasty in ancient China for the purpose of accommodating Buddhist sanctum or temple pagoda. However, the stone pagoda was destroyed in 1782 due to large fire with much missing part, blistering and scaling. In the restoration process in the 19th century, it was interpreted that gilt bronze pagoda was built at the upper part of the stone pagoda.

公州 水村里遺蹟 출토 細形銅劍에 대한 一考察

이창호(Lee Chang-Ho) 호서사학회 2010 역사와 담론 Vol.0 No.56

Suchon-ri relics ruins, Gongju Uidang-myeon Suchon-ri, Uidang Agricultural industrial complex relics excavated at the site is identified in the ruins. Pit grave and wooden chamber tomb with stone mound Ⅰ point was excavated from the tomb sehyeong bronze dagger in the Midwest and the type of the excavated ruins and natural classifications were reviewed by scientific analysis. so based on the results of this review and in the meaning of the Midwest were examined. Taxonomy of the type of sehyeong bronze dagger results pit grave excavated from the development stage Ⅰ sehyeong bronze dagger such black, such a black wooden chamber tomb that was found in stage Ⅱ development. relic could see through it. Scientific analysis of natural ingredients bronze composition remains the same, with different. Typically, copper + tin + lead alloys, but a ratio of about 7:2:1, Suchon-ri relics excavated in the amount of copper goes down, as the trace elements cobalt, and iron content was higher in much higher than the other bronze. Sehyeong bronze dagger unearthed in the Midwest and the burial sites and locations in common, but On a natural scientific analysis of the main reasons for the differences in the cultural development of sehyeong bronze daggers were in the process of analogizing. sehyeong bronze daggers cultural relics excavated Suchon-ri in the process of developing machines developing Ⅰand Ⅱ decided nine minutes, but that time is not large width of the BC, 2nd century was considered elderly. Sehyeong bronze dagger culture of this period in the Midwest spread out around the traditional culture of the indigenous forces sehyeong bronze dagger is time to begin to accommodate the culture. In this situation context that a group of Pit grave Used in this sehyeong bronze daggers began to accept the culture, the development of the advent of iron in stage Ⅱ wooden chamber tomb seedlings were used for a group is considered qualified by the redirection. Therefore, the composition of bronzes of the same culture that appears different from other sites is estimated. carbon isotope analysis estimated using the results of the mountains can see through. Suchon-ri of bronze artifacts excavated at the southern area of the raw materials, all identified as South Korea, but the raw materials of the Midwest the other bronzes in northern China, southern China, North Gyeongsang Province and South Korea are using a variety of local raw materials that can see through.

고대 중국 청동기의 다층적 함의

이성원 ( Lee¸ Sung-won ) 대구사학회 2020 대구사학 Vol.140 No.-

In ancient China, there were several neolithic civilizations developed simultaneously near the great rivers, the Yellow River, the Long River, the Liao River, etc. But With bronzes used some kingdoms appeared near the Yellow River approximately B.C.2000, for example Xia(夏) or Shang(商) dynasty. The transition from stone ages to bronze ages has multiple implications in ancient China. Bronze was a divine material and the core of political power and high technology, so bronze was absolutely different from stone. Bronze was the symbol of ritual and martial community in ancient China. Lots of ritual container made of bronze contained sacrifices for the purpose of communicating with gods in those ancestral rites. Kings of Shang and Zhou dynasty reinforced and sanctified his power through the ritual ceremonies using bronzes. So when those kings shared the power with lords and royal classes, it was very important to bestow bronzes. Weapons made of bronzes strengthened violences in war and penalty. Using bronze weapons resulted in huge casualties in war and legislated a specific penalty system cutting and damaging body of criminal in direct, so called Rouxing(肉刑). Meanwhile there was another ancient civilization, Shu (蜀) near the Long River far from the Yellow River. They moulded several big bronze statues taking after sage kings who had been said to be the progenitor of Shu civilization. They were absorbed in making bronze statues. Most dramatic variation of bronze was moulding lots of musical instruments. Music was also a core of ritual ceremony. Since the ends of Zhou dynasty Chinese moulded sets of suspended bells(編鐘). Bronze bells became the heart of the Ritual and Music(禮樂) culture in ancient China. (Department of History, Chonnam National University / luxlee68@naver.com)

제주 항파두리 항몽 유적 출토 청동제 취사용구의 제작기술 연구

이재성,유하림,김현우 한국문화재보존과학회 2024 보존과학회지 Vol.40 No.3

제주 항파두리 항몽 유적에서 출토된 청동제 취사용구의 미세조직을 분석하여 다양한 제작기술을 확인하였다. 청동숟가락과 청동국자는 구리와 주석만을 합금하여 제작하였으며, 합금 비율은 방짜조성인 구리에 약 22%의 주석을 포함하였다. 공통적으로 고온에서 단조하고, 최종적으로 담금질로 마무리하는 방짜기술의 제작공정이 이루어졌다. 또한 길이 방향으로 길 게 연신된 황화물은 유물에 공급된 구리 소재가 황동광, 휘동광 등 황을 포함하는 구리광석일 가능성을 보여준다. 청동용기류 3점은 구리-주석의 2원계 합금과 구리-주석-납의 3원계 합금으 로 각각 제작되었다. 구리-주석 2원계 합금을 이용한 제작기술은 열간단조와 담금질 공정을 거치는 방짜기술과 형태 주조 후 담금질하는 제작기술 체계로 나뉜다. 구리-주석-납의 3원계 합금으로 제작한 청동그릇은 주요 금속인 구리에 11 wt%의 주석과 9 wt% 납을 포함하고 있다. 다량 포함된 납은 미세조직 내에 불균일 크기로 형성되어 있으며, 납 주변에 황화물이 분포하 는 특징을 보인다. 또한 추가의 가공이나 담금질 등 열처리 흔적은 없어 형태 주조만으로 작업 공정이 마무리되었음을 알 수 있다. 미세조직 분석 결과는 제주 항파두리 항몽유적의 취사용구 에 적용된 다양한 제작기술 체계를 보여준다. 특히 다른 지역의 삼별초 항몽유적 출토 청동제 생활용구와 비교를 통해 삼별초의 이동에 따른 청동제 취사용구의 유입 가능성을 확인하였다 The microstructure of ancient bronze cooking outil excavated in historic site of anti-Mongolian struggle in Hangpaduri was analyzed to confirm various manufacturing techniques. Bronze spoon and bronze ladles were made by alloying only copper and tin, and the alloy ratio included approximately 22% tin in the copper composition of the forged high tin bronze. The manufacturing process of forged high tin bronze technology, which commonly involves high-temperature forging and final finishing with quenching, was performed. In addition, the sulfide elongated in the longitudinal direction shows that the copper material supplied to the metal may be copper ore containing sulfur such as chalcopyrite and chalcocite. The three bronzewares were made using a binary alloy of copper-tin and a ternary alloy of copper-tin-lead, respectively. Manufacturing techniques using a binary alloy of copper-tin are divided into a forged high tin bronze technique using a hammering and quenching process and a manufacturing technique system of quenching after casting into a shape. Bronze bowl made using a ternary alloy of copper-tin-lead contain 11 wt% tin and 9 wt% lead in the main metal of copper. The lead contained in large quantities is formed in an uneven size within the microstructure, and shows the characteristic of sulfide being distributed around the lead. In addition, there are no traces of additional processing or heat treatment such as quenching. Therefore, it can be seen that the work process was completed by casting the shape. The results of the microstructure analysis show various manufacturing technology systems applied to the bronze cooking outils from historic site of anti-Mongolian struggle in Hangpaduri, Jeju. In particular, through comparison with bronze artifacts utensils excavated from other regions of the Sambyeolcho’s historic site, the possibility of bronze being introduced due to the migration of the Sambyeolcho was confirmed.

중국 鄭州 靑銅器의 分期와 제작기술

최호현(Choi Hohyun) 한국상고사학회 2016 한국상고사학보 Vol.94 No.-

이 연구는 중국 商代 前期에 해당하는 청동기를 ‘鄭州 靑銅器’라 개념화한 다음, 발굴된 청동기와 도기 자료를 새롭게 검토하여 분기를 설정하고 각 단계별 변화의 양상을 구체적으로 설명해본 것이다. 二里崗文化의 중심지는 현 하남성 정주이지만 이 문화의 분포 범위는 매우 넓다. 당시 정주에 도읍한 상왕조는 강력한 권력을 가지고 있었는데 金屬 자원 및 靑銅 禮器의 주조를 독점하였을 뿐만 아니라 그것을 여러 지역에 분포하고 있는 세력에게 분배함으로써 국가의 권위를 유지하였음이 밝혀졌다. 이 시기 청동기의 분기에 대한 연구는 도기를 중심으로 진행된 연구의 성과를 그대로 수용한 상태로 이루어졌으며, 동기 그 자체의 형태나 제작 기법의 변화에 대한 연구는 매우 부족했다. 따라서 이연구에서는 기왕의 연구 성과에 토대를 두고 그것에 더해 근래까지의 발굴 성과에서 확인된 층서관계에 기준하여 청동기 출토 무덤(銅器墓)의 연대에 대해 살펴보고자 했으며, 아울러 청동기에 대한 형식학적 검토를 진행하였다. 청동기의 편년을 설정한 결과, 정주 청동기는 형태와 문양, 제작 기술에 따라 3단계의 변화를 거쳤음을 알 수 있었다. 즉, 제1기는 二里頭시기 동기 특징이 남아 있는 단계, 제2기는 二里崗시기 동기 특징이 전형적으로 드러나는 단계, 제3기는 白家庄기 동기 특징이 확립되고 殷墟시기로 이어지는 단계이다. 이 연구는 정주지역에서 출토된 청동 예기의 조형과 문양 및 제작 기법을 분석하여 이 시기 청동기를 다시금 편년했다는 점에서 의미를 찾아볼 수 있다. 향후 예기 이외의 청동기에 대한 연구, 정주 이외의 지역에서 출토된 동시기 청동기와의 비교 연구가 이루어진다면 이시기의 문화양상은 더욱 뚜렷해 질 수 있을 것으로 기대한다 The aim of this study is to figure out the period of creation of bronze vessels excavated in Zhengzhou(鄭州), a central area of the former period of the Early Shang period of China and to describe the meaning of its change per stage. Erligang(二里崗) culture in the Early Shang(商) period had very wide distribution area and its center was current Zhengzhou at Henan(河南) Province. The Shang dynasty at Zhengzhou had strong power dominating the production of bronze resources and ritual bronzes. Furthermore, they had kept authority of the country by distributing them into various neighboring powers. A study on the chronology of bronze at the period was mainly carried out by accepting the existing study results which were focused on potteries. And, there are very rare studies on the style and change of production techniques of bronze ware itself. Accordingly, this study attempted to carry out formative analysis on bronze ware. As a result, it was found that bronze had been transformed into 3 different stages at Zhengzhou. The first stage was the stage when features of Erlitou(二里頭) bronzes were left. The second stage was a typical stage when features of Erligang bronzes were typically revealed. And the third stage was a stage that was linked to Yinxu(殷墟) bronzes. In addition, the study is meaningful in that it analyzed composition of style, features and production techniques of Zhengzhou bronze and attempted chronology of the bronze of the time. It is expected that the cultural features of the period will be more apparent if studies on other bronze than ritual vessels and comparative studies with other bronze than those in Zhengzhou are conducted.

14세기 동기(銅器)의 유행과 그 의미: 고려시대 분묘 유적을 중심으로

신은제 ( Eun Jae Shin ),허선영 ( Sun Young Hur ) 동아대학교 석당학술원 2011 석당논총 Vol.0 No.51

In 14th century, as a lot of students know, Koryo celadon got some distinguished characters, the advent of celadon with the manufactured date(干支銘靑瓷), the poor patterns. Students have regarded reasons of the characters as the changes of system of production and the expanded consumption. However, according to results of recent researches of the Koryo graves, in the 14th century, the use of celadon was reduced. This deference have me to study celadon`s changes in 14th century. In this article, I`d like to study the excavated celadon from the Koryo graves. For study, I have nine remains of Koryo tumb, in regards of time and space. There are a lot of grave goods in nine remains of Koryo tumb, celadon, bronzeware, bronze spoons, and so on. From the examination of excavation reports of them, I get some conclusions. First, even same period, there is deference between grave goods as to the province in which graves were located. Some provinces of them have more celadon than bronzeware, but the other is not. Second, though the deference between provinces, I could find a important point. As a whole, there are more celadon than bronzeware in graves which were constituted during 12~13th century. Third, in the second half of 13th century, the circumstance was changed. The rate of bronzeware in grave goods got higher. In fact, there are a lot of reference to the fashion of bronzeware in ≪ Koryosa(高麗史)≫. Why bronzeware was in fashion in the 14th century? It is passible to answer the question in two ways, economy and culture. The fashion of bronzeware should base on the increase of supply of bronze. According to the study of bronze product, the bronze product in Koryo was reduced during 14th century. Though the reduce of bronze product, at that time the fashion of bronzeware was due to the importation of bronze from Yuan(元) Dynasty. Until collapse of Dynasty, Song(宋) government continued to prohibit the exportation of bronze, in order to get the raw material of the coin bronze. After the foundation of Yuan(元) Dynasty, the circumstance was changed. Yuan(元) Dynasty used the currency of Bo-chao(寶초) which was guaranteed in silver. Then Yuan(元) Dynasty didn`t need to use the much bronze than Song(宋). The surplus bronze in Yuan(元) Dynasty was exported to Koryo and Japan, and the supply of bronze got grown in Koryo. On the other hand, the cultural preference effected the fashion of bronzeware. The Mongolians as nomadic tribes prefered the matalware to celadon or ceramics. The upper class in Koryo Dynasty was heavily affected by Yuan(元) Dynasty, politically and culturally. They prefered the matalware, especially bronzeware to celadon. The fashion of bronzeware brought about the fall of celadon`s product, it might result the relative decline of the celadon`s quality.

출토 청동유물의 납 함량에 따른 부식층 및 부식생성물 특성 분석

최경서,배고운,이상옥,정광용 한국문화재보존과학회 2022 보존과학회지 Vol.38 No.5

This study aims to investigate the corrosion characteristics of bronze artifacts according to lead contents by conducting a comprehensive analysis on corrosion layers and corrosion products focusing on excavated bronze artifacts of ternary alloys with various chemical compositions. From the research outcome, the selective corrosion, high-tin corrosion layers, and lead compounds were identified in two excavated bronze artifacts, and there was a difference in the structure of corrosion layers and the corrosion products of core metal between high lead content bronze and the lowest lead content bronze. Especially, based on the specimen with the highest lead content, it was identified that lead oxide in reddish color and a large quantity of lead corrosion products including lead carbonate in various colors such as white, red, yellow, and green are distributed inside the base metal. In this study, the number of analyzed samples is insufficient to represent the corrosion characteristics of bronze artifacts made of the ternary alloys. Therefore, it is judged that basic data should be accumulated by conducting a corrosion characteristic study on bronze artifacts with various alloy composition ratios in the future.

기원전 13~11세기 중원계 청동기의 북상과 연산산맥 남북지역의 청동문화

최호현 한국청동기학회 2020 한국청동기학보 Vol.27 No.-

The aim of this paper is to resolve the longstanding academic question regarding the origin and influx route of central plains bronze vessels, which are found around underground storerooms and tombs in the Liaoxi region, as well as identifying their owners. To do this, the central plains bronze vessels from northern and southern Yanshan Mountains were sorted by era and region. Also, a comparative analysis was conducted to deduce the subject, that is, the owners of the bronze vessels from the Liaoxi. In addition, the patterns of change in the bronze culture around the Yanshan Mountains resulting from the northern expansion were examined. The period was limited to the 13th-11th centuries B.C., prior to the division of the Western Zhou's Yan, and focused on artifacts from the Shang Dynasty Line; these had been excavated from the regions to the northern and southern Yanshan Mountains. The conclusions of this paper can be summarized as follows. First, the whole of the Liaoxi corresponds to the earlier part of this paper. The bronze vessels from east of Mt. Nuluerhu are typical of the central plains. However, of the bronze vessels from west of Mt. Nuluerhu, some are typical of those from the central plains; other items are believed to have been produced elsewhere or by artisans not from the central plains, and seem to be related to the later Zhukaigou and Lijiaya cultures. Second, of the Shang dynasty ritual bronze vessels from southern Yanshan Mountains, the tombs of the Liujiahe and Houqianyi, which belong to the earlier part of this paper, were due to the direct influx of the Shang people. The Houqianyi and Zhangjiayuan tombs, which belong to the later part, are believed to have been caused by the influx of the pre-dynastic Zhou culture. Third, to secure a stable amount of raw materials for bronze-making, the abundant mining resources in the Yanshan Mountains would have been the main target of control during the Shang and Zhou periods. Representative of the earlier part of this paper are the Xiquegou type, and of the later part, the Houquanyi ruins and the Zhangjiayuan ruins from southern Yanshan Mountains. The indigenous culture is believed to have disappeared or been absorbed around the time of the Western Zhou's founding, or may have migrated to the Liaoning on the other side of the Yanshan Mountains. 본고는 요서(遼西)지역에서 교장과 무덤을 중심으로 출토되는 상주(商周)시기 중원계 청동용기의기원과 유입경로, 주체인 작기자(作器者) 혹은 소유자 등에 대한 학계의 오랜 숙제를 해결해보고자 하는 연구의 일환으로 진행되었다. 이에 연산산맥 남북지역에서 중원계 청동기가 출토되는 유적을 시기별·지역별로 구분한 후 주변지역과의 비교분석을 통해 요서지역 출토 청동용기의 주체를 추정하고, 이의 북상에 따른 연산산맥을 중심으로 한 중국 북방지역 청동문화의 변화양상을 살펴보고자 하였다. 연구대상은 시기적으로 서주 연(燕)이 분봉되기 이전 즉 기원전 13세기에서 11세기로 한정하고, 연산산맥 남북지역에서 상계(商系) 청동용기가 출토된 유적을 중심으로 하였다. 본고의 결론은 다음과 같이 정리할 수 있다. 첫 째, 요서지역은 모두 본고의 전기에 해당하며, 노로아호산 이서지역에서 출토된 상계 청동용기는 전형적인 중원계에 속하는 기물과 중원 이외의 지역 혹은 비주원계 장인에 의해 제작된 것으로 판단되는 기물이 공존하며, 주개구문화 후기 혹은 이가애문화와 관련되었을 것으로 보았다. 노로아호산이동지역 출토 청동용기는 전형적인 중원계에 속한다. 그러나 상문화의 직접적인 유입이라기 보다는일시적인 교류나 정착에 의한 것으로 보았다. 둘 째, 연산 이남지역에서 출토되는 상계 청동기 중 본고의 전기에 해당하는 평곡 유가하유적과 일부 천안 후천의유적의 무덤은 상인의 직접적으로 유입에 의한 것으로, 후기에 해당하는 후천의 동기묘와 장가원 무덤은 상대 선주(先周)문화의 유입에 의한 것으로 판단하였다. 셋 째, 청동원료의 안정적인 확보를 위해서 연산산맥 일대의 풍부한 광산자원은 상주시기 핵심지역의 주요 경락 대상이었을 것이다. 본고의 전기에는 희작구유형이, 후기에는 연산 이남의 후천의유적과 장가원유적이 대표적이며, 서주 건립을 전후하여 토착문화는 소멸·흡수되거나 연산산맥을 넘어요령지역으로 이동해간 것으로 추정하였다.