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Lee, Su Jeong
- Korean Journal of Heritage: History & Science
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- v.45 no.4
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- pp.126-139
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- 2012
Authenticity has emerged as an important condition which should be examined in setting out conservation and management principles of cultural heritage during the last half century. Compared that the concept has been internationally discussed developing it into the applicable framework such kind of effort has been relatively low within Asian context. This paper is the first half part the research on authenticity which aims at setting out conceptual framework of authenticity in Korean context and presenting a set of suggestion to make the Korean heritage-based concept of authenticity be workable in assessing heritage value in practice. It focused on the analytical review on two aspects: 1. the origin of the word and the development of the concept along with the implementation of World Heritage Convention, nt of related international charters; 2. Problems of the intrinsic nature of the concept and problems to be considered in defining the concept.
https://doi.org/10.22755/kjchs.2012.45.4.126 인용 PDF

Ryu, Dongwan;An, Boyeon;Lee, Ryangmi;Lee, Jaesung;Park, Yeonghwan;You, Harim
- Journal of Conservation Science
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- v.37 no.3
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- pp.270-281
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- 2021
The Yongjam of Oejae, Yi Dan-ha's wife, is an ornamental hairpin with a dragon-shaped engraving; designated as National Folklore Cultural Heritage No. 4. It is also a component of the ceremonial costume, and an artifact of great value as it clearly identifies the position of the wearer and the period of this artifact. The Yongjam has been well preserved in general; however, various pollutants and corrosive products have affected the engraved patterns, requiring conservation treatment. Furthermore, a non-destructive analysis was conducted to identify the components of the materials and the manufacturing techniques used in the ornament. The Yongjam is hollow inside to reduce its weight when placed in the hair and has a color contrast of gold, red, and black. The decorative part and the body were made separately. That is, the body was made from an alloy of copper, silver, and zinc, and its joint was elaborately connected without any overlaps. In the decorative part, different alloy ratios were identified in the dragon's face, beard, horn, body, and fin. Further, for the dragon's face with its delicate patterns, an alloy of silver and copper was used, likely to make the face appear as realistic as possible.
https://doi.org/10.12654/JCS.2021.37.3.07 인용 PDF KSCI