• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.172-193
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• 2013

This study examines the production techniques and raw materials shown in the Korean dried-lacquer statues of Buddha through a careful observation of the Seated Dried-lacquer Bodhisattva Statue from the late Goryeo Dynasty which is currently possessed by Okura Museum of Art in Tokyo. As a method of study, the X-ray data and the results from a field survey were combined to analyze the production techniques and the characteristics of raw materials. Based on this analysis, a hypothesis was established on the production process and verified through a reenactment of the actual production process. Then, the characteristics of the techniques applied to each process and the raw materials were recorded in detail. Specifically, the dried lacquer techniques and the raw materials were estimated based on the results of naked-eye observation in comparison with the literature, especially the records of "Xiu Shi Lu" written by Huang Cheng of the Ming Dynasty which is considered as 'the textbook of lacquer techniques.' The raw materials used in the production of the traditional Korean lacquerware inlaid with mother-of-pearl were also referenced. As a result, it was found that the features of production techniques and the raw materials found in the Statue at Okura Museum of Art have many similarities with those of the Seated Dried-lacquer Statue of Lohan (Arhat) from Yuanfu 2 Nian Ming (1098) of the Song Dynasty which is currently at the Honolulu Museum of Art. In particular, the similarities include that the interior of the statue being vacant because the clay and the wood core were not replaced after being removed from the prototype, that the complete form was made in the clay forming stage to apply the lacquer with baste fiber fabric, that the clay and the wood core were removed through the bottom of the statue, and that the modeling stage was omitted and the final coat over the statue is very thin. Additionally, decorating with ornaments like Bobal and Youngrak made of plastic material was a technique widely popular in the Song Dynasty, suggesting that the Seated Dried-lacquer Bodhisattva Statue in Okura Museum of Art was greatly affected by the production techniques of the Dried-lacquer Buddha Statue from the Song Dynasty. There is no precise record on the origin and history of the Korean Dried-lacquer Buddha Statues and the number of existing works is also very limited. Even the records in "Xuanhe Fengshi Gaoli Tujing" that tells us about the origin of the Dried-lacquer Buddha Statue from the Yuan Feng Period (1078~1085) do not indicate the time of transmission. It is also difficult to trace the clear route of transmission of production techniques through existing Dried-lacquer Buddha Statues. Fortunately, this study could at least reveal that the existing Dried-lacquer Buddha Statues of Korea, including the one at Okura Museum of Art, have applied the production techniques rather differently from those used in the production of Japanese Datsukatsu Dried-lacquer Buddha Statues that have been known as the standard rule in making dried-lacquer statues of Buddha for a long time.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.148-173
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• 2012

The rear garden in Donggwol Palace which shared with the Changdeok Palace and the Changgyeong Palace is the salient places of technology and idea reflected the phases of the times of the Joseon Dynasty, so it is certainly one of the best Korean garden cultures. The rear garden in Donggwol which was not only the secret garden for the rest of royal family but also used as symbolic places for the various ceremonies and training its human resources has been considerably destroyed through the period of Japanese colonial rule. Thus the rear garden areas at north of Changkyung Palace were entirely transformed and a few territory from Juhabru(宙合樓) to Ongnyucheon(玉流川) keep up its surviving as the rear garden. The area of Jondeokjeong(尊德亭) which become subject on this studies from among these was constructed as flower garden after development of Ongnyucheon. The areas of Simchujeong(深秋亭), Cheoknoedang(滌惱堂), Pyemwoosa(?愚?), Mangchunjeong(望春亭), Chunhyagak(天香閣), Chungsimjeong(淸心亭) around Jondeokjeong, were situated among the beautiful scenery with the flowers and ponds. But there are only Jondeokjeong and Pyemwoosa at this moment, and the other pavilions was destroyed and transformed. For these reasons, in this studies, the formative purposes were investigated through analysing water elements, planting, ornaments and so on. According to these reasons, historical records and realities of garden construction of five pavilions : Simchujeong, Mangchunjeong, Cheoknoedang, Chunhyagak, Chungyeongak(淸燕閣) were considered to give authenticity to the restoration and reorganization as well as to accumulate basic knowledge about the conservation of environment surrounded garden architectures. These pavilions appeared at Gunggwolgi(宮闕志) and Joseonwangzosilok(朝鮮王朝實), but their names were not appeared at Donggwoldo(東闕圖). So they were ascertained through all of literatures on Donggwol Palace. Cheoknoedang and Simchujeong among these buildings could be found out as the existed buildings and the uncertain building at the northwest of Jondeokjeong was estimated as the name to Chunhyagak or Mangchunjeong. And the hypothesis that the wall surrounding Taichungmoon(太淸門) should be belong to Chungyeongak was supported. In addition, the area which did not known in connection with name and use on northeast at the Changdeok Palace, and had regarded as an impasses in the studies of Donggwoldo and the rear garden in Donggwol Palace, but the historical records of using by Yeonsangun(燕山君) and Sukjong(肅宗) were discovered at this study. And it could be uncovered that the obscure spatial space was a separate house only for king and he enjoyed play there unnoticing to others belong to palace.

• Korean Journal of Heritage: History & Science
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• v.44 no.1
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• pp.182-195
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• 2011

Old big tree transcends the simple meaning of trees as they are the natural monuments that embody the people's history and culture of this land. The Cultural Heritage Administration of Korea (CHA) defines and protects old big tree based not only on the size of the tree but also on its definitive cultural and natural factors such as value, implications, and originality. This research aims to identify and analyze the habitation and measurements, the soil conditions, as well as the protective facilities of 14 old big tree spread throughout the Gangwondo. The research examined the soundness of the arboreal form, the degree of damage on the bark, as well as the quantity of leafs levels to evaluate the overall condition of growth and development. Then, the tree height, the eastwest and south-north width of the crown, the sternum circumference, and the root circumference were recorded to identify the measurements of the selected old big tree. Also, the research analyzed 9 elements such as soil texture, pH levels, and organic contents in order to determine the scientific characteristics of soil upon which the trees draw nutrition. Finally, the research evaluated supporting pillars, lightning rods, iron pulling-facilities, as well as notice boards to study the protective facilities of old big tree. The research procedures revealed that 78.57% of the old big tree identified as natural monuments in the Gangwondo have average to above average habitation conditions. Also, the average tree height reaches 18.80m above ground while the average root circumference measures 7.34m. Moreover, the results of the scientific analyses conducted on the soil elements determined that most chemical values were within the defined levels, with the exception of phosphoric acid levels falling within the hyper-nutritious range. Finally, although most of the protective facilities did support the habitation of the Old big tree, there were some supporting pillars and iron pulling-facilities that actually damaged the trees. This research means to provide foundational reference data for the analysis of the habitation and management conditions of natural monument old big tree within the Gangwondo. A follow-up topic led by the results of this research is the identification and analysis of correlating environmental elements that affect the habitation of the old big tree.

• Korean Journal of Heritage: History & Science
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• v.47 no.3
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• pp.188-207
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• 2014

Taking the concept of 'Invention of Tradition' by Hobsbawm, this paper examines the change of perspectives on the past and the attitudes toward connecting the past and the contemporary in the 19th century restoration of religious buildings in England. The Anglican society in the early 19th century argued that the catholic theology and rituals should be revived in their practice, which has formed the Oxford Movement. Such aspiration has stimulated to the society to execute its religious practice in a proper space, which has resulted in the Cambridge Camden Society in the middle of the century. Their publications on church buildings and arrangement had much affected to the restoration of many churches to rip off the previous Georgian furnitures and features of the fabric into Gothic, the style of middle age. The perspective on the past for anti-restoration movement in the late 19th century has moved into the one to respect all historical layers of previous spirit imprinted in the church buildings. Inspired by Ruskin and formulated by Morris, SPAB's Manifesto has reflected that the spirit of the first builder can not be reproduced or copied by the contemporaries, and therefore a daily maintenance is the best practice to extend the life of spirit rather than restoration. In addition the material remains is no longer belong to the religious entity but should be regarded as national heritage. By examining the change of perspectives on the past between the early and middle of 19th century and the late 19th century, this paper has argued that the various factors such as social, economic, political, art and commercial factors should be examined together in the understanding of conservation history.

• The Korean Journal of Archival Studies
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• no.33
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• pp.155-206
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• 2012

Interests in archives management are getting expanded from the public sector into the cultural and artistic field for the ten years after legislation of "Act on the Management of Public Archives" in 1999. However, due to lack of recognition on the importance of archives in the cultural and artistic field, it is rather frequent that information is kept scattered or archives are lost. As an example, absence of precise contract documents or notes of bestowal keeps people from locating great amount of cultural properties, and because of it these creative properties are in the risk of thefts, the closed-door auctioning, or trades in unofficial channels. As how a nation manages cultural and artistic creation inside the nation reflects its cultural level, it can be said that one of the indexes to notice the extent of a nation's cultural level is to take a look at how they are circulated. This study started from this point. Growing economy and rising interests in culture and art made the society more cognizant of the importance and value that visual artworks have, but the archives and information which are showing the context of these artworks and are produced in the course of social interaction are relatively disregarded because too much emphasis lies on the work itself. It is harder to find archives or documentations in Korea than in other advanced countries about the artists themselves or philosophical discourse on the background of the artworks. There is not so much interest to preserve the archives and information produced after the exhibition also, and they are used for no more than promotion or reference. Hereupon, the researcher recognized the importance of visual arts archives and believed that systemic management on them are high in need. And metadata is an essential way for the systemic management, as recently management on artworks or their archives are conducted using the system of the agencies even though they are not produced electronically. The objective of this study is to manage visual arts archives systematically by designing a data model reflecting traits of visual arts archives. Metadata are needed in the every course of archives from acquisition to management, preservation and application. Visual arts archives find its rich value only when a systemic relationship is established among information on artist, artwork and events including exhibition. By establishing a Multiple Entity Data Model, in which artworks, artists and events (exhibitions) make relationship all together, metadata for management on visual arts archive gets more efficiency and at the same time explanatory trait of the archive gets higher. For this reason we, in the study, tried to design a data model by setting each as an independent entities and designating relations between them, in order to find a way to manage visual arts archives more systematically.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.50-58
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• 2011

Cheongpunggye is located in a valley where Baekaksan, the main mountain of Seoul and Inwang Mountain corresponding to right-white tiger(石白虎) divination based on topography are crossed. The owner of Cheongpunggye is Seonwon Kim Sangyong and many people had visited there without pause because of beautiful landscape since the early times of Chosun. Seonwon Kim Sangyong had ever studied together with Yulgok Yi I and Woogye Seong Hon. He was one of the Western faction(Seo-in) which was the leading power of Injo Coup and died for his chastity during Second Manchu Invasion of Chosun. He is known as a model of fidelity which is a symbol for scholar's spirit in Chosun together with his younger brother Cheongeum Kim Sangheon. Jangdong region, the clan village of New Andong family was the birthplace of Yulgok School which was the fundamental of scholar spirit of Chosun. And Jangdong would be the source of Jin-Gyeong(Real Scenery) Culture which was bloomed by Baekak club composed of Gyeomjae Jeong Seon, Sacheon Lee Byeongyeon, and Gwanajae Cho Yeongseok. The contents of this study are as follows. First, this study explored the placeness of Seochon region through the historical background like the relation between Jangdong, the clan village of Andong Kim family and Andong Kim family, and achievements of Seonwon Kim Sangyong and circumstances of that times. Second, this study tried to know original landscape of Cheongpunggye by investigating location, topography, water system etc. based on analysis of literature, old map, and paintings describing Cheongpunggye. The study was progressed in this way. To infer the original landscape, about 50 landscape elements of Cheongpunggye shown in Punggyejibseunggi(楓溪集勝記), Cheongpunggye Cheop, Cheongpunggye(淸風溪), the work of Gyeomjae Jeong Sean were searched, and then the location and form of the elements was analyzed. Furthermore, by analyzing the meanings of the names for the landscape elements, the thoughts(Naturalism, Taoism, Confucianism, Buddhism) supporting the structure of Cheongpunggye could be inferred. It is thought that these findings can contribute to exploration of placeness of Cheongpunggye. The study on original landscape of Cheongpunggye can be used as basic data when these works are executed-revival of Cheongpunggye, restoration of small streams in upper part of Cheonggyecheon, renewal of Seochon region.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.69-86
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• 2020

Haenghaeng Ilgi (Diary of a Royal Trip) (koo 7152; hereafter Ilgi) in the collection of the National Museum of Korea provides an account of Crown Prince Sado's incognito royal visit to Pyeongyang in the fourth month of 1761. Ilgi was written by Ham Daeil, a low-ranking military officer in Pyeongyang. Ham was singled out for praise by Crown Prince Sado (1735-1762) and served the prince from the seventh day of the fourth month to the first day of the fifth month. Ilgi documented the deeds of Crown Prince Sado during this period and provides detailed information on his incognito visit to Pyeongyang, which was not officially recorded. Ilgi shows characteristics differentiating it from many other diaries. For example, the quality of the paper, neat handwriting, and well-organized sentences differ from those of common diaries. These distinctions indicate that Ilgi is closer to an official document than a private diary written by an individual. Since Ilgi records Crown Prince Sado's incognito visit to Pyeongyang, is only vaguely known otherwise, its contents need to be examined in terms of whether or not they are fully factual. As the first step in such verification, It is traced that Ham Daeil's family history which turned out to match what is written in Ilgi. Moreover, Ilgi mentions about Prince Crown Sado's writing a piece of calligraphy, and a matching piece of calligraphy written by Sado still survives today. It can be confirmed that the contents of Ilgi are factual in at least these regards. However, although Crown Prince Sado was known to have met people from various social classes during his visit to Pyeongyang, Ilgi focuses only on Crown Prince Sado and Ham Daeil. This suggests the possibility that the surviving version of Ilgi may be an edited condensation based on original texts containing more complete information on Crown Prince Sado's visit. Ilgi is presumed to have been produced during the generation of Ham Jeonghui, a son of Ham Daeil. The dates of birth and death of Ham Daeil fall during the reign of King Yeongjo. It is unlikely that any records regarding Crown Prince Sado would have been published while King Yeongjo, who was hostile to Sado, ruled the country. Ilgi also provides strong evidence that Ham Jeonghui presented the subsequent king, King Jeongjo, with the calligraphy by Crown Prince Sado and the diary. It is unclear if the book Ham Jeonghui presented him was the same as the extant version of Ilgi. Nonetheless, considering the situation at the time when King Jeongjo was pursuing several projects to honor his father Sado, it is highly probable that Ilgi was produced during the reign of King Jeongjo. The periods of presenting the calligraphy and the diary respectively overlapped with the production of Hyeollyungwon, the royal tomb of Crown Prince Sado, and Sado's sixtieth birthday. Therefore, is it considered reasonable that Ham Jeonghui produced Ilgi to promote his own social ambitions.

• Food Science and Industry
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• v.50 no.4
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• pp.82-91
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• 2017

The purpose of this study was to investigate development and nutrient analysis of traditional food in the Sunchang area. A total 6 kinds of set tables was excavated from storytelling. Among set tables, taste and season food were the best in Sunchang gochujang hanjeongsik and Sunchang arirang season table. Shape color, smell, and commercialization possibility and differentiation were best in Sunchang arirang season table. Mole Ratio of sodium and potassium was 1:1 in Sunchang gochujang hanjeongsik and Sunchang arirang season table. The calcium contents in Sunchang gochujang hanjeongsik and Sunchang arirang season table were higher than other traditional foods. This result indicated that Sunchang gochujang hanjeongsik and Sunchang arirang season table are useful for traditional functional food. Also, it is highly suggested to make a database system about local food and standardization of traditional foods cookery.

• (The)Study of the Eastern Classic
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• no.37
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• pp.217-248
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• 2009

'Pil-dam-chang-su-jib'(collection of conversation by writing about poetry or sentences) which was remained in Japan through the dispatching of Tong-sin mission belong to the Joseon dynasty is a valuable historical records directly to verify sincere relationships with Korea and Japan in the past. At the center of the 'Pil-dam-chang-su-jib', a conversation of senators who was technocrat both countries at that time was not a little contained. Because they need to exchange information and opinions which they had been curious at an appointed hour, the most impending medical problems of that period had to be brought out in the senator's 'Pil-dam-chang-su-jib' and the value of material is high as much. If you examine the 'Pil-dam' records which was exchanged from senators to senators of both countries at that time, you can directly confirm the universality and difference of the medical science and medicine tradition of various East Asian countries. The purpose of a paper was in consolidation to a base of translation and investigation hereafter to consider the characters embodied in medical conversation in the first half of $18^{th}$ centuries. '~ Rok(錄)' can be an opportunity to organize the customs history through the studying an illness, medicines and a remedy. The necessity of the investigation about medical related conversation by writing is in this place. '~ Ui-dam(醫談)' is considering with the all factors above, the first half of 18th century's medical conversation materials are certificated remarkably valuable materials to the cultural history around the physician at that time. '~ Pil-ur(筆語)' is to use of questions and answers form gives presence and reality at the conversation by writing. So, conversation was let the readers to gain the feeling of movement. Also, the contents are substantially reflected the long history of Eastern medical and revealed medical science, treatment reality at that time. Not correspondent with normal collection of conversation by writing, the medical conversation by writing shows a special quality at rich material to confirm the technocrat's identity. The first half of $18^{th}$ century medical conversation by writing had been a foundation of the rational description system at the coming medical conversation to change the description system according to the envoy's coming situation.

• Journal of the Korean earth science society
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• v.43 no.1
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• pp.151-164
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• 2022

According to the records of historical and instrumental earthquakes, the southeastern part of the Korean Peninsula is considered the highest seismic activity area. Owing to recent reports of numerous Quaternary faults along the Yangsan and Ulsan fault zones, paleoseismological studies are being actively conducted in these areas. The study area is located in the central part of the Ulsan fault zone, where the largest number of active faults have been reported. Based on lineament and geomorphic analysis using LiDAR images and aerial photographs, fault-related landforms showing topographic relief were observed and a trench survey was conducted. The trench length 20 m, width 5 m, depth 5 m is located approximately 300 m away to the northeast from the previously reported Malbang fault. From the trench section, we interpreted the geometric and kinematic characteristics of the fault based on the deformed features of the Quaternary sedimentary layers. The attitude of the reverse fault, N26°W/33°NE, is similar to those of the reported faults distributed along the Ulsan fault zone. Although a single apparent displacement of approximately 40 cm has been observed, the true displacement could not be calculated due to the absence of the slickenline on the fault plane. Based on the geochronological results of the cryogenic structure proposed in a previous study, the most recent faulting event has been estimated as being earlier than the late Wurm glaciation. We interpreted the thrust fault system of the study area as an imbrication structure based on the previous studies and the fault geometry obtained in this additional trench. Although several previous investigations including many trench surveys have been conducted, they found limited success in obtaining the information on fault parameters, which could be due to complex characteristics of the reverse fault system. Additional paleoseismic studies will contribute to solving the mentioned problems and the comprehensive fault evolution.