• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.22-37
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• 2021

The wind chime is a longstanding Jangeomgu (majestic article) found in Korea, China, and Japan. However, basic research on wind chimes is currently inadequate as it is difficult to estimate the time of production, and there are few relics. Therefore, this research morphologically classifies the eight bronze wind chimes decorating the baldachin of the Stone Standing Maitreya Bodhisattva of Gwanchoksa Temple, Nonsan. Based on this, the manufacturing techniques and production period are scientifically demonstrated. The synthesis of the research results reveals that the structure and characteristics of the wind chimes of the Stone Standing Maitreya Bodhisattva of Gwanchoksa Temple, Nonsan differ depending on their location on the baldachin. The four large-sized wind chimes on the lower-baldachin were manufactured by casting a Cu-Sn-Pb alloy, and they are estimated to have been made during the early period of Goryeo. The two medium-sized wind chimes of the upper-baldachin's northern direction were manufactured through forging a Cu-Sn or Cu-Sn-Pb alloy, and they appear to have a similar structure to the cylindrical wind chimes appearing during the latter period of Goryeo and the Joseon period. The two small-sized wind chimes of the upper-baldachin's southern direction were manufactured by casting a Cu-Sn-Pb alloy containing Zn, and based on the chemical composition of the alloy and the shape of the clapper, they are estimated to have been manufactured during the latter period of Joseon. Through the observation of microstructures and a chemical composition analysis, it is demonstrated that two wind chimes of the lowerbaldachin were manufactured by casting and slow cooling the alloy with an alloy ratio of Cu:Sn:Pb≒80:15:5. In addition, it is estimated that the wind chimes of the upper-baldachin's northeast direction were manufactured by forging an alloy of Cu-Sn with a similar alloy ratio to that of forged high tin bronze. The results of a comparative analysis of prior research on domestic wind chimes confirm that two wind chimes of the lower-baldachin have a similar composition ratio to the wind chime excavated from Wolnamsaji in Gangjin, containing an amount of tin that corresponds with ancient records. Having a similar alloy ratio to forged high tin bronze, the wind chimes of the upper-baldachin's northeast direction are the only instances among all of the wind chimes that have been examined to date that were manufactured using this forging method. The purpose of this research is to collect baseline data to verify and classify the manufacturing period of wind chimes according to their morphological characteristics based on scientific evidence. It is hoped that this data can be utilized for the restoration and conservation processes of the wind chimes of the Stone Standing Maitreya Bodhisattva of Gwanchoksa Temple, Nonsan.

• Journal of the Korean Institute of Landscape Architecture
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• v.46 no.1
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• pp.49-60
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• 2018

The role of the botanical garden in securing biodiversity, responding to climate change, and sustainable development in modern cities is becoming more important. Private botanical gardens that lead the domestic botanical culture are declining due to complex reasons such as an increase of tourist destinations, lack of policy support, lack of introduction of advanced management strategies, and similar leisure activities to national and public botanical gardens. The Private Botanical Garden not only has a large number of plant species with high conservation value, but also provides various public utilities as a cultural and educational space and government efforts are needed to activate the operation of this amenity. The purpose of this study is to evaluate the value of public functions provided by private botanical gardens using the Contingent Valuation Method (CVM). In this way, the government aims to provide a basis for policy and institutional support for private botanical gardens. The main results are as follows. First, public utility functions provided by private botanical gardens were recognized as 'preservation' (23.4%), 'recreation and tourism' (17.5%) and 'research' (16.6%) in order of analytic hierarchy process (AHP). Second, 'heritage value' (33.0%) and 'existence value' (32.5%) were recognized as significant among the values provided by private botanical gardens. Third, the willingness to pay (WTP) to preserve the public functions of the private botanical garden was 12,234 won. Based on this, the economic value of all private botanical gardens in the whole country was estimated, resulting in about 233.8 billion won. There is a need to revise laws and regulations related to financial support for the revitalization and quality improvement of private botanical gardens. It is also necessary to establish a cooperative operating system between national, public and private botanical gardens.

• 한국방재학회:학술대회논문집
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• 2011.02a
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• pp.193-193
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• 2011

본 연구에서는 산불발생인자들에 대한 정보를 각각의 요인별로 집적화하고 체계화시킴으로써 산불예방활동의 기초자료로 활용할 뿐만 아니라 산불발생 시, 산불의 거동을 예측하기 위한 자료로 활용하고자 하였다. 발생인자는 크게 연료 및 기상조건 관련 인자와 열적특성 관련 인자로 분류하고 연료 및 기상조건 관련 인자는 수종별, 부위별, 지역별, 고도별, 월별 산림연료들의 구성 요인들에 대해서 분석하였다. 수종별로는 생강나무, 초피나무, 조록싸리, 산초, 개암, 청미래, 고추나무, 철쭉, 조릿대, 털진달래 등 관목류 10개 수종과 김의털, 방아풀, 주름조개풀, 칡, 엉겅퀴 등 초본류 5개 수종 그리고 소나무, 잣나무, 리기다소나무, 해송, 구상나무, 주목 등 6개의 침엽수 및 굴참나무, 떡갈나무, 신갈나무, 갈참나무, 졸참나무, 상수리, 산개벚나무, 고채목, 개서어나무, 굴거리나무, 서어나무, 산벚나무, 때죽나무, 당단풍나무, 단풍나무 등 15개의 활엽수로 구성된 교목류를 대상으로 분석하였다. 부위별로는 생엽, 낙엽, 가지, 수피, 솔방울 등으로 구분하여 분석을 수행했으며, 지역별 구성은 강원(삼척/태백산), 경북(응봉산), 경기(용문산), 충북(월악산), 충남(계룡산), 전북(덕유산), 전남(월출산), 부산(금정산), 제주(한라산) 등 9개 지역을 대상으로 선정하였다. 고도별로는 강원도에 소재하고 있는 태백산을 중심으로 소나무와 신갈나무 생엽을 대상으로 900m, 1000m, 1100m, 1200m, 1300m, 1400m, 1500m 고도를 선정하여 분석을 수행하였다. 월별 분석데이터는 소나무 생엽의 경우, 2008년 6월부터 2010년 11월까지 매월 분석을 수행하였으며, 굴참나무 생엽의 경우에는 2008년부터 2010년까지 매년 6월부터 10월까지 생엽을 채취할 수 있는 기간 동안 분석을 수행하였다. 또한, 열적특성 관련 인자로는 착화특성(무염착화온도, 발염착화시간, 소염시간, 화염지속시간), 발열특성(총열방출량, 평균열방출률), 발연특성(총연기방출량, 최대연기밀도, 최대밀도시간) 등을 고찰하였다. 이와 같은 결과들은 산불발생인자 DB구축으로 부터 산불발생 위험도 및 동태예측의 기본 자료로 활용할 수 있을 뿐만 아니라 지역별 연료별 산림연료의 열적특성 DB로 부터 산불발생시 산불 위험도에 대한 기술정립과 응용성을 향상시킬 수 있을 것으로 사료된다. 이외에도 산림연료 종류별 열적특성을 결과를 토대로 문화재보존지역과 같이 문화적 가치가 높은 시설이나 주유소, 가스 충전소 등의 위험 시설에 대한 효과적인 보호를 위한 대처 방안을 사전에 준비할 수 있어 산불 피해에 대한 국민의 불안감을 줄일 수 있을 것으로 생각된다.

• Journal of the Daesoon Academy of Sciences
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• v.48
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• pp.157-198
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• 2024

Aside from enriching spirituality, religiously-themed museums play a crucial role in resolving conflicts among the nations peripherally or various cultural groups in a broad sense. Relatively speaking, Korea has achieved a peaceful multi-religious society, yet the 2019 pandemic caused certain religious conflicts to surface or perhaps resurface. Since the 2000, due to the increasing number of migrants, there has been increasing awareness of the need to accommodating even greater levels of religious diversity. Accordingly, this study aims to apprehend various educational programs and exhibitions that have been developed by St. Mungo's Museum of Religious Life and Art, the State Museum of the History of Religion, and the Museum of World Religions in multi-ethnic societies such as the UK, Russia, and Taiwan. Therein, it will be determined how these museums contribute to mutual understanding and interaction and this research will suggest the development of a religiously-themed museum capable of resolving a number of social conflicts and enriching the diversity of its nation.

• Conservation Science in Museum
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• v.14
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• pp.91-113
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• 2013

Cheongpung Buwongun Kim Wu-myeong's Funeral Bier, an important folklore cultural property No.120, possessed by Chuncheon National Museum was donated in 2002 (by Kim Seonggu). It consists of a bier, yoyeo(腰輿), myeongjeongdae(銘旌臺), and manjangdae(輓章臺). It has a high value as the oldest royal bier. The bier which had a resting time in the storage for special exhibition of "The great cultural treasure of Gangwon province" was inspected in September 2012 and colored pigment layer of the wooden part had the risk of peeling off and surface damage of the textile was serious. Therefore, conservation treatment was conducted. In addition, knots and susiks(垂飾) were severely damaged and their exhibition was impossible. Therefore, a reproduction to replace them through a close investigation was made. All parts of the funeral bier were in separation except for the basic furniture. Conservation was made by dividing the parts into wooden parts and textile parts. Yoyeo was reinforced after disassembling bujae from it and then was reassembled. Paraloid B-72 2 wt% (in ethyle acetate), acrylic resin, was applied to the wooden part of the bier in order to reinforce the colored pigment layer with the addition of sodium alginate 2 wt%(in stilled water) and glue 4 wt%(in stilled water). The pollutants on the surface of the textile part were removed (vacuuming) and its creases were smoothed out (steaming). Fat-soluble pollutants were removed using an nonionic surfactant(Saponin, concentration at 0.25 to 0.5 g/𝑙, in de-ionized water). After the disassembly of the yoyeo from the broken wooden, it was bonded with glue (3 wt% for the first gluing, 35 wt% for gluing), and pine wood was used to restore missing parts. In the process of connecting Wongak(雲角), the original metal hinge and nails were reused to complete the assembly.

• (The) Research of the performance art and culture
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• no.39
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• pp.549-580
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• 2019

There are many festivals in the region that mainly use traditional performing arts. Traditional performing arts has a story that incorporates the history of the area, and it is easy to build a brand that can be distinguished from other areas through traditional performing arts, so it has conditions that are easy to grow in the local festival it can. In this paper, I researched the relationship between the significance and regionality of regional performing arts, referring to the case where traditional performing arts, which is a joint cultural heritage of East Asia, are transmitted as a festival. The performance art with strong locality has grown into a local festival, and the Kanto Festival (竿燈) held in Akita prefecture in northeastern Japan was selected as a representative example of that area. Along with the Aomori Nebuta Festival and the Sendai Tanabata Festival, the Kanto Festival is called the 3 major festivals in the northeastern part of Japan. It was designated as an important intangible folk cultural property in 1980 and became more famous. It visited Seoul several times after the 2005 Japan-Korea Exchange Festival event. It is widely known as a regional festival that represents Japan. The Kanto Festival, which was a participatory event on a village basis, has faced problems such as the migration and aging of young people since the 1970s. In order to solve this, they led the participation of schools, educational institutions, and various groups beyond the village unit and persuaded the participation to the local companies. They have been steadily promoting free lectures on technical skills and school visit events that induce children's interest. As a result, the number of moths mobilized in the current festival has reached 250, and the Kanto tournament also shows great popularity every year.

• (The) Research of the performance art and culture
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• no.37
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• pp.187-221
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• 2018

The style of performance to contemporary nongak is not fixed in a specific period of time, but in conjunction with the total change in society that has occurred during its long time from traditional society to the modern times. It is important to recognize that the traditional performance art forms that we see and feel today, including nongak, are constantly interacting with the times and are a change in the design that has been shaped in the past. Now, we must get rid of the negative idea that there is some fixed prototype in Nongak. Also, the value and the need for preservation of current Nongak should not be evaluated according to the ' pure genealogy of village descent, ' which was possible only in villages with small population movements long ago. If can get rid of the stereotypes, can greatly expand the view that we read the values of a certain Nongak. Looking away from a few of these traditional fixed perceptions can significantly broaden the view of reading the winning values of some farmers ' songs. In this regard, this report determined the performing style and nature of Changwon's Toichon-noangak through a structural analysis of the Toichon-noangak in contemporary, and discussed the significance of the transmittion of Toichon-noangak. Changwon Toichon Nongak started out as an even-present ritual performance based on the religious nature of the village community and actively exchanged with the economic, social and cultural foundations of the Republic of Korea, which began to accumulate in the modern changes. Generally, the performance style of village Nongak has a combination of characteristics according to the ritual, Dure(collective labor), entertainment, and these three functions. Toichon Nongak is also a village Nongak style and in which of ritual nongak and village entertainment nongak are connected in parallel as one in the big total structure. The origin, background, purpose, and style of towing of Toichon noangak demonstrates that the Toichon noangak is originally ceremonial noangak derived from a prayer style of Dongje. Then, various factors influences are interacting with Toichon noangak within the orbit of modern society, such a style of playing, popular nongak, is believed to have undergone an extended change. Overall, Toichon nongak performance style can be called nongak, which maintains traditional customs and it also has the changed characteristics according to the times of village society.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.13-21
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• 2019

The purpose of this study is to understand the actual conditions of Seolleung and Jeongneung historical cultural landscape forests of Joseon Royal Tombs and to prepare systematic preservation and management plans, and the results of the study are as follows. First, in the current situation, vegetation is dominated by Quercus aliena and Pinus densiflora, and it is distributed as Quercus aliena community 21.22%, Pinus densiflora community 21.22% and Pinus densiflora afforestation 3.69%. The main vegetation communities are Pinus densiflora community, Quercus aliena community, Alnus japonica community, Pinus densiflora afforestation, and Pinus koraiensis afforestation. Second, in the measuring of Diameter of Basal Height in eight quadrat, the main species were Pinus densiflora, Quercus aliena and Alnus japonica and the maximum Distribution of Diameter of Basal Height was 20-25cm of Pinus densiflora, 25-30cm of Quercus aliena, and 25-30cm of Alnus japonica. Third, the forest is located between King and Queen's royal tombs in Seolleung, which is not suitable for the form of the tombs. In Jeongneung, the narrow space of the ceremony area shows an unfavorable environment for the formation of pine forests, and the pine forests on the left and right have a different heights that hinders the visual landscape. Fourth, as a management plan for the forests, stray pine trees, which are exotic species, are removed and pine forests are formed along the ridges. After removing the forest between the King and Queen's royal tombs of Seolleung, grass is formed, and the height of the pine forest on the left and right of Jeongneung is adjusted, and pines near the Gokjang are continuously monitored. Visually heterogeneous trees are arranged boldly, the boundary is adjusted to harmonize with the surrounding deciduous trees and maintains a buffer space of about 10m. This study is expected to provide important implications for Joseon Royal Tombs and in the future, the actual conditions of each Joseon Royal Tombs should be understood and appropriate management plans should be prepared.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.4
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• pp.75-87
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• 2017

This study is the research about Okcheonjeong(玉泉亭) located in the backyard of Namhansanseong(南漢山城)'s temporary palace(行宮). Okcheonjeong was not only built by a government inside Namhansanseong but it was also representative garden which is shown the culture of the nobility. It became famous garden ruins recently because it has remained many carved stones. However, there has been no study about Okcheonjeong yet. We studied Okcheonjeong to establish basic knowledge by literature analysis and field investigation. We tried to discover garden style by deciphering carved stones, and estimate Okcheonjeong's location by documentary research. Sim, Sang-Gyu became Gwangjuyusu(廣州留守) in 1816, and he built Okcheonjeong on the backyard of Namhansanseong's temporary palace in 1817. It was located in the foot of a mountain beside a stream. It consisted of Pungaepok(楓靄瀑: waterfall), Chusudam(秋水潭: a little pond), and Okcheon(玉泉: a stone wall). The stone for sign stands in front of the entrance of Pungaepok to show Okcheonjeong, and there is Yeongyeondae(泠然臺) above the waterfall. We thought that Okcheonjeong was typical Imcheon-garden(林泉庭苑). Okcheonjeong is located in the foot of a mountain following Gamigyeong(歌薇逕) 60 meters so it was able to see the whole temporary palace from the Okcheonjeong. It was the garden pavilion of temporary palace, but it was used in semi public garden(半公的庭苑). Okcheonjeong is the only graden ruins which was located in Namhansanseong, so we have to preserve as cultural heritage. We expect to make use of primary datas to restore Namhansanseong soundly which was world heritage.

• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.52-69
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• 2021

The transcriptions of Buddhist sutra in the Goryeo Dynasty are more elaborate and splendid than those of any other period and occupy a very important position in Korean bibliography. Among them, the transcriptions made on indigo paper show decorative features that represent the dignity and quality that nobles would have preferred. Particularly, during the Goryeo Dynasty, a large number of transcriptions were made on indigo paper, often in hand-scrolled and folded forms. If flexibility was not guaranteed, the hand-scrolled form caused inconvenience and damage when handling the transcription because of the structural limitations of the material that is rolled up and opened. It was possible to overcome these shortcomings by changing from the hand-scrolled to the folded form to obtain convenience and structural stability. The folded form of the transcription utilizes the same principle as the folding screen, so it is a structure that can be folded and unfolded, and it is made by connecting parts at regularly spaced intervals. No matter how small the transcription is, if it is made of thin paper, it is difficult to handle it and to maintain its shape and structure. For this reason, the folded transcription was usually made of thick paper to support the structure, and the cover was made thicker than the inner part to protect the contents. In other words, the forded form was generally manufactured to suit the characteristics of maintaining strength by making the paper thick. Because a large amount of indigo paper was needed to make this type of transcription, it is assumed that there were craftsmen who were in charge only of dark dyeing the papers. Usually, paper dyeing requires much more dye than silk dyeing, and dyeing dozens of times would be required to obtain the deep indigo color of the base of the transcription of Buddhist sutra in the Goryeo Dynasty. Unfortunately, there is no record of the Goryeo Dynasty's indigo blue paper manufacturing technique, and the craftsmen who made indigo paper no longer remain, so no one knows the exact method of making indigo paper. Recently, Hanji artisans, natural dyers, and conservators attempted to restore the Goryeo Dynasty's indigo paper, but the texture and deep colors found in the relics could not be reproduced. This study introduces the process of restoring indigo paper in the Goryeo Dynasty through collaboration between dyeing artisans, Hanji artisans, and conservators for conservation of the transcription of Buddhist sutra in the late Goryeo dynasty, yielding a suggested method of making indigo paper.