본 硏究는 우리나라의 韓國式銅劍文化 成立背景이 어디에 있었는가를 밝혀보고, 遺蹟과 遺物의 編年的 檢討를 통해서 韓國式銅劍文化期의 劃期 구분을 시도하는 한편 同 銅劍文化의 社會性格 問題에 接近해 보고자 하였다.
靑銅器時代의 無文土器와 磨製石劍 등의 유물을 중심으로 하는 土着 無文土器文化와 겹합한 遼寧式銅劍文化는 韓半島 전역에 파급되면서 韓國遼寧式銅劍文化라고 하는 遼寧式銅劍文化圈의 새로운 갈래를 形成하였다. 이 韓國遼寧式銅劍文化는 中部 以南지역에서는 松菊里型文化와 密接한 관계를 지니고 있었으며, 南方式支石墓와 石棺墓 등의 墓制를 중심으로 하는 문화와도 밀접한 관계에 있었다. 이는 부여 松菊里遺蹟의 共同墓地 遺構의 하나인 石棺墓에서 출토된 遼寧式銅劍과 松菊里 55－8호 住居址에서 출토된 扇形銅斧의 거푸집, 그리고 遼寧式銅劍이 출토된 南方式支石墓들에서 보이는 松菊里型文化 要素인 三角形石刀 등의 石器 내용 등으로 보아 그러하다. 이 韓國의 遼寧式銅劍文化는 土着文化와 결합하는 過程에서 크게 또는 決定的으로 影響을 주지는 못하였던 것으로 믿어진다. 遼寧地域의 遼寧式銅劍文化에 비해서는 비교적 單純한 내용을 보이고 있어, 靑銅武器로 銅劍과 銅□, 그리고 銅鏃만이 보이며 그밖에 銅斧·刀子·銅鑿 등의 靑銅工具 등이 一部 發見될 뿐이다. 遼寧地域에서 보이는 馬具類와 靑銅儀器類 그리고 靑銅裝飾 등은 출토되지 않고 靑銅器가 一括로 多量이 발견되는 경우도 거의 없다. 遼寧式銅劍이나 銅□ 그리고 銅鏃 등의 무기류 한 두 점이 磨製石劍·石鏃·石斧 등의 토착적인 석기들과 共伴되어 출토되는 例가 많을 뿐이다. 또한 支石墓가 주된 墓制이고 車馬的이거나 騎馬的인 要素도 보이지 않는다. 그러나 基本的으로는 現 中國 東北地域의 遼寧式銅劍文化에 起源을 두고 있다고 할 수 있다. 遼東遼寧式銅劍文化를 비롯해 遼西地域의 夏家占上層文化 그리고 吉林－長天지역의 西團山文化 要素와도 관련이 있는 것으로 믿어진다. 이러한 것은 우리나라가 大陸에서 突出된 半島라고 하는 地政學的 環境에 의해 끊임없이 북쪽 大陸으로부터 새로운 文化要素가 移入된 結果라고 하겠다. 이러한 韓國遼寧式銅劍文化는 土着의 支石墓文化와 複合, 南部지역으로 擴散되면서 청동기시대 後期까지 지속된다.
前期의 靑銅器文化를 代表하는 것이 韓國遼寧式銅劍文化라고 할 때 발전된 後期의 靑銅器文化를 代表하는 것은 韓國式銅劍文化이다. 韓國式銅劍文化의 起源을 遼寧式銅劍文化에서 찾을 수 있음은 兩 文化의 內容 특히 靑銅遺物들의 比較로서 잘 알 수 있다. 먼저 遼寧式銅劍과 韓國式銅劍을 比較해보면 첫째 銅劍의 길이가 비슷한 短劍이고 劍身과 劍把를 따로 만들어 組立한 점, 둘째 抉入部가 形成된 점, 셋째 劍把가 T字 형을 이루고 劍把를 상부에 劍把頭蝕을 附着하게 된 점 등이 共通되어 있는데 이러한 特徵을 가지고 있는 것은 이들 동검 이외에는 없다. 이밖에 多□鏡, 扇形銅斧 등의 靑銅器와 滑石製 鑄範과 같은 청동기 鑄造用品 등에서도 共通點을 찾아볼 수 있다고 생각된다. 이 新 文化의 波及은 주로 遼東地域을 중심으로 한 遼寧式銅劍文化에 의한 것이었으나 一部 北方文化의 要素도 보이고 있다. 그러나 新 文化의 波及이 卽存의 文化內容을 全面的으로 바꿀 수 있었던 것은 아니다. 北部地域에서는 강한 保守性을 지닌 팽이형土器文化의 影響으로 初期의 韓國式銅劍文化가 제대로 뿌리를 내리지 못했으며, 南部地域에서도 이 新 文化는 松菊里型住居와 生活用具, 松菊里型土器 등으로 代表되는 在來 松菊里型土器文化의 基層文化를 基本的으로 바꾸지는 못하고 서서히 複合되었다. 住居나 일반 生活用具 예를 들어 石器·土器와 같은 基層文化를 代表하는 부분에 있어서는 連結되는 部分이 많다. 最近에는 松菊里型住居址에서 粘土帶土器 등의 韓國式銅劍文化期의 遺物이 출토되는 例가 增加하고 있어 松菊里型住居가 적어도 韓國式銅劍文化期의 中期까지 持續되었음은 確實해졌다. 石器에서도 韓國遼寧式銅劍文化段階의 有溝石斧, 三角形石刀, 石鎌, 石斧 등이, 土器에서는 口脣附刻目土器와 松菊里型土器 등이 이 韓國式銅劍文化期까지 그대로 連結된다. 그러나 支配階層의 墓制와 靑銅器로 대표되는 上層文化에는 크게 影響을 주면서 根本的인 탈바꿈을 하게 된다. 일부 支石墓에서 韓國式銅劍 關係遺物이 出土되고 있으나 量과 質에서 積石石棺墓나 積石木棺墓 出土遺物에 비해 뒤지고 있기 때문이다. 遼東地域 遼寧式銅劍文化와의 關聯은 靑銅器의 分析結果에서도 알 수 있다. 銅·錫·鉛의 고른 成分을 갖춘 靑銅器가 兩 地域에서만 보이고 있기 때문이다.
이 韓國式銅劍文化는 成立期, 發電期, 衰退期 三期로 區分할 수 있다. 成立期는 遼寧式銅劍文化의 要素를 거의 비슷하게 받아들여 그 影響에서 크게 벗어나지 못하는 時期이다. 墓制에 있어서도 支石墓는 거의 사라지게 되고 積石石棺墓 등이 새로이 등장한다. 住居는 確認된 例가 많지 않아 確實하지는 않지만 基層文化의 中心을 이루엇던 松菊里型居住가 그대로 使用되는 한편 中國 遼東地域에서 보이는 平面 方形의 새로운 水石里型住居도 같이 造營되었다. 土器는 韓國式銅劍文化期의 全 期間에 걸쳐 粘土帶土器와 黑色土器長頸壺가 流行하게 된다. 이후 發展期에 들어서면 소위 北方靑銅器文化와 中國의 中原靑銅器文化 要素도 받아들여 더욱 多樣한 靑銅器文化를 선보이게 되어, 韓國式銅劍과 多□鏡 이외에도 靑銅儀器類와 韓國式銅劍, 韓國式銅戈 등의 독특한 형식의 '韓國式' 靑銅器룰 만들어 내게 되면서 發展하게 된다. 遼寧式銅劍文化의 影響에서 脫皮되며 새로운 北方文化要素가 流入되면서, 銅鈴類 세트로 된 靑銅儀器가 登場하고 鑄造技術의 發展을 비롯한 急激한 變化로 인해 銅鏡文樣의 精文化가 이루어진다. 粗文鏡이 精文鏡으로 바뀌고 儀器가 銅鈴類로 轉換되는 發展期의 이러한 過程은 매우 급작스로운 편이다. 이러한 變化는 단순한 技術의 發展이나 文樣의 自體的인 變化에서 이루어진 것만으로는 볼 수 없고, 脈을 달리하는 새로운 靑銅器文化와의 接觸에서만 이루어질 수 있는 것이다. 즉, 새로운 北方文化要素의 流入을 생각하지 않을 수 없다. 곧이어 紀元前 3세기말∼紀元前 2세기 초에는 中國 戰國時代의 鐵器文化 影響으로 眞正한 意味의 鐵器時代로 突入하게 된다. 이때는 戰國末에서 秦漢으로 교운 社會였음을 推鄭할 수 있다.
韓國式銅劍文化는 古代 東아시아에서 中國-韓國-日本의 靑銅器文化를 잇는 일종의 停留場 役割을 한 文化이다. 中國 東北地域의 遼寧式銅劍文化에 起源을 두었으나 韓半島에서 在來의 松菊里型土器文化와 複合되면서 새로운'韓國式'의 靑銅器文化를 發生하게 되었다. 基層文化를 가지게 되엇다. 점차적으 北方文化要素, 中國 中原文化要素 등도 받아들이면서 뛰어난 製作技術을 習得하고 이를 바탕으로 發展한다. 이후 中國 戰國時代의 鐵器文化를 받아들이면서 韓國式銅劍文化는 서서히 退化의 길을 걷는다. 새로운 鐵器文化에 말린 韓國式銅劍文化는 日本으로 건너가 彌生時代 큰 影響을 미친다. 특히 靑銅武器類와 多□鏡, 銅鐸 등으로 대표되는 韓國式銅劍文化는 彌生時代 上層文化에 큰 變化를 가져왔으나, 粘土帶土器와 黑色土器長頸壺를 中心으로 하는 土器文化는 基層文化인 彌生土器文化에 큰 영향을 주지 못하였다. 이러한 古帶 中國과 日本의 狀況과 同一하다고 하겠다.

This thesis is design for clarifying the formational background of the Korean type bronze dagger culture (韓團式鋼劍文化). In addition it aims at setting up sub-divisions of the Korean Type Bronze Dagger Culture Period on basis of reviewing the chronological sequences of the artefacts and related archaeological sites while examining its social characteristics.
The Korean Liaoning type bronze dagger culture(韓園遼寧式鋼劍文化) had formed as Liaoning(遼寧) type bronze dagger culture(遼寧式鋼劍文化) diffused into all part of the Korean Peninsula and the latter adopted the indigenous plain coarse pottery culture featured with plain coarse pottery and polished stone daggers. The Korean Liaoning type bronze dagger culture was closely related to not only the Songguk-ri type culture(松菊里型文化) but also the Southern type dolmens (南方式 支石幕) and stone cist(石棺幕) as well notified in the Liaoning type bronze dagger excavated from a stone cist at the Songguk-ri site, the stone moulder for a fan-shaped bronze axe(屬形鋼斧) excavated from the No. 55-8 dwelling site at the Songguk-ri site, and the triangular-shaped knives(三角形石刀) and other stone tools found from the Southern type dolmens yielding Liaoning type bronze daggers. The triangular-shaped knives and other stone tools are considered to be a cultural element of the Songguk-ri type culture.
It is considered that this Korean Liaoning type bronze dagger culture did not seem to play decisive role or big impacts on the indigenous culture during the cultural interaction processes. The assemblage of the Korean Liaoning type bronze dagger culture is relatively simple in comparison with that of Liaoning type bronze dagger culture of the Liaoning region. Because the former mainly consists of bronze weapons such as daggers, spearheads, arrowheads and so on along with bronze implements such as axes, knives, and chisels. It does not include bronze horse fittings, bronze ritual implements, and bronze ornaments, of which are the cultural elements of the Liaoning type bronze dagger culture of the Liaoning region. It is extremely rare that many bronze objects have been found together. Usually one or two bronze weapons such as a Liaoning type bronze dagger, a bronze spearhead, or a bronze arrowhead have been found along with a polished stone dagger, stone arrowheads, stone axes and so on, of which polished stone tools are thought to be an indigenous cultural element. In addition the objects related to the Liaoning type bronze dagger culture have been mainly excavated from dolmens. Chariot-related objects or horse fittings have not been identified.
However the Korean Liaoning type bronze dagger culture basically originated from the Liaoning type bronze dagger culture of the Liaoning region. In addition the Korean Liaoning type bronze dagger culture is considered to be related to the Xiajiadian Upper Layer Culture(夏家店上層文化) of the Liaoxi(遼西) region and the Xituanshan culture(西團山文化) of the Jilin-Changtian(吉林-長春) region as well.
This is the result of geopolitical position of the Korean Peninsula which has absorbed new cultural elements from the neighbouring northern area. The Korean Liaoning type bronze dagger culture had continued up to the Late Korean Bronze Age while mixing the dolmen culture and spreading to the southern part of the Korean Peninsula.
The Korean Liaoning type bronze dagger culture represents the Early Korean bronze culture. Instead the Korean type τ bronze dagger culture does the Late Korean bronze culture. The origin of the Korean type bronze dagger culture could be traced back to the Liaoning type bronze dagger culture in the Liaoning region because the both shared cultural contents and their traits , Firstly the length of both type bronze daggers is roughly same. In addition the handle of both type bronze daggers and their dagger body had been produced separately so that the handle must be jointed with their dagger body for their use. Secondly both type bronze daggers have a symmetrical concave bladed part. Thirdly both type bronze daggers have T-shaped handle with a pommel. In addition, there are more shared features between them in the other bronze objects such as bronze mirrors with geometric design and multiple knobs as well as soap stone-made moulds for bronze objects.
Although the Korean bronze dagger culture originated from the Liaoning type bronze dagger culture in the Liaoning region, the contents of both cultures in general were not identical and related to each other directly. Particularly it can be said that the Korean Liaoning type bronze dagger culture did not have a direct and successive developmental relationship with the Korean type bronze dagger culture: it is hard to find successive tradition between the tombs of the two cultures with rare exceptions. The former is closely related to dolmens and stone cist while the latter is closely related to stone cist with stone mound or wooden coffin tombs with. stone mound. As far as the artefacts are concerned, no later-styled Liaoning type bronze dagger has been excavated with any early-styled Korean type bronze dagger and there is no obvious example that early bronze mirrors with coarse lines on their back have b_n found from the archaeological sites dated to the Korean Liaoning type bronze dagger culture. The Liaoning type bronze spearhead dated to the phase of the Korean Liaoning type bronze dagger culture also is not directly related to the Korean type bronze spearhead because the latter did not appear in the early phase of the Korean type bronze dagger period. In addition during the late phase of the Korean Liaoning type bronze dagger culture the amount of the bronze objects consumed did not seem to be increased and the diversity in the bronze objects had not been identified and further more their quality had not been improved, which might not correspond to the general developmental patterns. In this sense it could be concluded that the Korean type bronze dagger culture did not have direct and successive relationship with the Korean Lioaning type bronze dagger culture in the Korean Peninsula but instead the Korean type bronze dagger culture had appeared upon the influx of a new culture.
Comparative reviews of cultural elements of the Korean type bronze dagger culture in its formational phase with those of its com temporary neighbouring areas imply that the unique Korean type bronze dagger culture is believed to have been formed around 4th century BC after a branch of the Liaoning type bronze dagger culture in the Liaoning region had newly arrived at the Korean Peninsula, particularly the mid-western and southern Korean Peninsula. The new cultural influx from a branch of the Liaoning type bronze dagger culture in the Liaoning region, which was closely related to appearance of the Korean type bronze dagger culture, is considered to have come from the area north to the Liaodong Bay. More specifically the related area north to the Liaoning Bay ranges from 40° north latitude to 42° north latitude while it does from 119° east longitude to 124° east longitude. Pottery with clay stripes, black burnished long-necked pottery, bronze mirrors with coarse lines on their back, and bronze daggers with convex part on their spine are good examples of the objects representing the Korean type bronze dagger culture, whose distribution turned out concentrated on the above-mentioned area. In addition there might be high possibility that stone cist with stone mound(積石石棺幕) of the Xiajiadian upper layer culture(夏家店上層文化) and its wooden coffin tombs with stone mound(積石木棺幕) might be closely related to those of the Korean type bronze dagger culture. Particularly it can be said that people might migrate into the Korean Peninsula from the related area north to the Liaodong Bay(遼東灣) because both areas share same kinds of pottery, which have been thought to represent people ' s identity relatively well.
It is implied that the new cultural influx had been made in the mid-western area of the Korean Peninsula directly from the Liaoning area without passing the northern area of the Korean Peninsula. Because objects including pottery with clay stripes dated to the early phase of the Korean type bronze dagger culture and its related sites have not been found from the northern area. The Korean type bronze dagger culture, of which cultural elements include pottery with clay stripes, black burnished pottery, Korean type bronze daggers, mirrors with coarse lines on their back(多銀組文鏡), bronze ritual implements, and stone cist with stone mound, is thought to have been formed and developed in the mid-western area of the Korean peninsula. After its formation and development it is supposed tospread into all of the Korean Peninsula and it is considered to replace the Korean Liaoning type bronze dagger culture represented by Liaoning type bronze daggers and polished stone daggers. Although the influx of the new culture mainly originated from the Lioaning type bronze dagger culture based on the Liaodong area, some elements from the so-called Northern culture(Nomadic Culture, 北方文化) have been identified.
However the new cultural influx could not change the indigenous culture wholly. The early Korean type bronze dagger culture could not take root in the northern area of the Korean Peninsula properly owing to the spinning-top shaped pottery culture(팽이형토기문화), which was considered to be very conservative. In the southern area of the Korean peninsula it did not wholly change the indigenous Songguk-ri type culture represented by the Songguk-ri type dwelling site, the Songguk-ri type pottery(松菊里型土器), and other Songguk-ri type tools. Instead it gradually mixed with indigenous culture. Recently it is increased that pottery with clay stripes(粘土帶土器) dated to the period of the Korean type bronze dagger culture have been being found at the Songguk-ri type dwelling sites, which suggests that the Songguk-ri type dwelling had been built down to the mid- Korean type bronze dagger culture period. The lithic tradition of the Korean Liaoning type bronze dagger culture period such as grooved adzes(有溝石斧), triangle-shaped knives(三角形石刀), stone sickles, and stone axes had been continued down to the mid- Korean type bronze dagger culture period along with the Songguk-ri type pottery and pottery with notched strip on rim as well. However the new cultural influx gave enormous impact on the ruling groups and their culture represented by the new tombs and bronze objects while their drastic changes occurred. It can be told because objects related to the Korean type bronze dagger culture have been yielded from a few dolmens and instead they have been found from stone cist with stone mound and wooden coffin tombs with stone mound while their quantity and quality exceed those of bronze objects from a few dolmens. The relation of the Korean type bronze dagger culture with the Liaoning type bronze dagger culture in the Liaodong region(遼東遼寧式銅劍文化) can be seen from the composition analysis of bronze objects because the compositional ratios of copper, tin, and zinc in the bronze objects from both areas are similar to each other.
The period of the Korean type bronze dagger culture can be divided into three phases such as the formative phase, the developmental phase, and the declining phase. In the formative phase the influence of the Liaoning bronze dagger culture strongly remained and stone cist with stone mound newly appeared while replacing dolmens. Although archaeological evidences are not enough, the Songguk-ri type dwelling is considered to have been still used in the indigenous culture and new quadrangle dwelling in plan such as the Suseok-ri type dwelling, which can be seen in the contemporary archaeological sites of the Liaodong area, began to be built together. The pottery with clay stripes and black burnished pottery(黑色士器長頭壺) had been made for the whole period of the Korean type bronze dagger culture. Later the developmental phase witnessed the acceptance of the Northern Bronze Culture and the Chinese bronze culture in the Hwanghe region(Zhongyuan region 中原地方), which was a good chance to interact with diverse bronze culture.
In the developmental phase the unique Korean type bronze objects such as bronze ritual implements, bronze spearheads, bronze halberds and so on along with the Korean type bronze daggers and bronze mirrors with minute designs, were in vogue. In this phase the influence of the Liaoning type bronze dagger culture disappeared and the elements of Northern Bronze Culture had been newly introduced. Bronze ritual implements consisting of a set of bronze bells and bronze mirrors with ve η minute designs, which reflected many drastic changes including the development of the bronze casting techniques, had appeared. The transformation in this phase from the mirrors with coarse lines on the back to the mirrors with minute designs(多□精文鏡) as well as the appearance of bronze bells as bronze ritual implements seemed to be very rapid. Those kinds of drastic changes can not be considered as a result of simple technological developments or changes in designs. Rather it is more natural that those changes should be interpreted as a result of the interaction with totally new kinds of bronze cultures. Soon around the end of third century BC or the early second century BC in the real sense the iron age began owing to the influence of the iron culture of the Chinese Warring States. There is a high possibility that an iron culture had been introduced to Korea by the new immigrants from China because that period was a turbulent transitional times from the end of the Warring States Period to the Qin(奏) and Han(漢) Dynasties. In the early stage of the iron age working tools such as cast iron axes and iron chisels had been produced. But soon weapons such as forged iron daggers and iron spearheads along with working tools like forged iron axes had been produced. Glass production techniques had been introduced from China with the iron technology so that tubular jades or amazon stone jades were replaced by glass in the times. The aftermath of the introduction of the iron culture resulted in the decline of the bronze culture and later the substantial widespread of iron culture by the influence of the Han China brought to enormous socio-political impacts in all aspects around the advent of Jesus Christ. At this time the declining phase of the bronze age ended and went into the Proto-Three Kingdoms Period(原三國時代), which was the substantial iron age.
In addition the declining Korean bronze culture was diffused into Japan and flourished again there, which was the bronze culture during the Yayoi(彌生) period. This can be well testified by the excavated archaeological evidences in Japan, particularly in Kyushu(九州), such as bronze daggers, bronze spearheads, bronze halberds, bronze mirrors with minute designs, pottery with clay stripes, dolmens, wooden coffin tombs, and the Songguk-ri type dwelling sites. Some of them are definitely cultural elements of the Korean type bronze dagger culture. That is, the cultural complexes of both the cultural elements of the ruling groups(ie, bronze objects and wooden coffin tombs) and those of the indigenous(je, the Songguk-ri type dwelling, dolmens and the Songguk-ri type pottery, pottery with clay stripes, and black burnished pottery) were moved into Japan around the second century BC, which was the beginning of the declining phase in Korea. Many co-occurrences of the early bronze objects and iron objects since the end of the early Yayoi period also could be interpreted in the same context. In addition, the bronze daggers, bronze mirrors, and jades, which were excavated from the many tombs dated to the period of the Korean type bronze dagger culture, had been found from only the king-leveled tombs. This might imply that the cultural diffusions into Japan had been made by the ruling groups' immigration as well as their drive.
The tombs dated to the Korean type bronze dagger culture period and their grave goods in not only their size but also their differential quantity and quality suggest the arrangements of the social status differentiation. The stone cist at Goejeong-dong(塊亭洞), Dongseo-ri(東西里) and Namseong-ri(南城里), the wooden coffin tombs at Daegok-ri(大谷里) and other tombs at Ipsil-ri(入室里) and their diverse bronze objects including rituals implements and weapons suggest that the buried of such tombs manipulated considerable political power and religious power presiding religious ceremonies and rituals. It means that the societies at the times did not separate the political power from the religious power. In addtion the monopoly of the bronze objects by the limited number of groups, which required developed labor division or metal specialists nderstanding complex production skills and processes, implies the existence of the powerful leadership for coordination of the whole procedures. The bronze daggers, bronze mirrors, and jades as a set, which are excavated alot from the tombs of the Korean type bronze dagger culture in Korea, are called as the three divine objects(三種의 神器) of the Japanese imperial family in the Japanese mythology. The three kinds of objects as a set are thought to be status symbols of the ruling. The mirrors might symbolize for ritual authority, the daggers for military authority, and the jade for fertility. If this interpretation is true, it might be said that the societies of the Korean type bronze dagger culture longed for religious power, more strong military power, and fertility, of which were their essential social foundations.
The Korean type bronze dagger culture(韓國式鋼劍文化) is a kind of culture bridging the bronze cultures of China, Korea, Japan. Its origin goes back to the Liaoning type bronze dagger culture of the Chinese North-eastern region. However as it had mixed with the Songguk-ri type pottery culture (松菊里型土器文化), it gained its own unique cultural features. During the period of the Korean type bronze dagger culture(韓國式鋼劍文化期) the cultural mixture with the lower culture(基層文化 ) had been made gradually, while the one with the upper culture had been done very rapidly. Later the Korean type bronze dagger culture attained the cultural elements from the Northern Culture(Nomadic Culture, 北方文化 ) and the Chinese culture at the Zhongyuan region(中原文化) so that it developed its high levelled bronze production techniques and reached its peak. After that, it gradually declined as the iron culture of the Chinese Warring States Period had been adopted. The Korean type bronze dagger culture, which was retreated the impact of the new waves made by the new iron culture, diffused into Japan and influenced the formation of the Japanese bronze culture in the Yayoi Period greatly. Particularly the Korean type bronze dagger culture, which was represented by bronze weapons, the bronze mirrors with minute designs and two knobs, bronze bells and so on, resulted in big changes in the Japanese upper culture(上層 文化) while the pottery culture characterized by pottery with clay stripes(粘土帶土器) and the black burnished pottery(黑色土器長碩壺) made little impact on the Yayoi pottery, which was the lower culture(基層文化) of the Yaoi culture. This kind of the cultural patterns between ancient Korea and China.
There are many things to be desired in this thesis. There might be many mistakes and logical leaps in interpretations. These points are hoped to be revised in the future researches.