• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.243-263
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• 2022

The royal court of Joseon had a tradition of mounting the Irworobongdo, a painting of the sun, the moon and the five sacred peaks, symbols of the king's immortal presence and authority, on a folding screen and placing it in special spaces within the palace that were reserved for the king. While the Irworobongdo is generally accepted as the important ceremonial object of the royal palaces of Joseon, there have been few studies on the various folding screens used in the royal palaces, largely because the official records about such screens do not match the remaining original relics. In this study, the main discussion is focused on the diversity of the shapes and mounting materials of the Irworobongdoused for various ceremonies held in the royal palaces of Joseon based on the Uigwe, the official records of the royal protocols of the Joseon dynasty. The discussion also extends to the theme rarely studied so far, namely the original form of the Irworobongdo and its evolution in the following period. The ceremonial "five peak" folding screens (Obongbyeong) used at a number of important palace buildings, including the crown hall (Jeongjeon), royal funerary hall (Binjeon), spirit hall (Honjeon) and portrait shrine (Jinjeon), differed in shape and size from the folding screens used in royal celebratory events such as banquets, although the paintings themselves and the style of mounting them were essentially the same. The paintings were mounted on screens bordered with green silk and ornamented with floral gilt designs. The folding screens used in royal ceremonies were produced according to strict guidelines that required the ceremonies and mounting materials to be graded on the basis of the status of each screen. It was not until the 1960s that these ceremonial folding screens of the Joseon dynasty, which had been neglected during the period of Japanese colonial rule of Korea, began to undergo conservation treatment provided as part of a heritage preservation program. Unfortunately, many of the screens repaired in this period lost some of their original features - largely due to the use of non-traditional mounting techniques. Considering, however, that significant achievements have since been made in the heritage preservation field based on the use of historical evidence, it is now necessary to systematically use the repair history of the information about the remaining royal ceremonial folding screens to ensure that they are preserved and managed more effectively in the future.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.212-231
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• 2021

This study examines the types of gods worshiped in the homes of Utsunoya village, the places where they are enshrined, the rituals and food offered to the gods, the decorations during the rituals, and the people's beliefs. Also, by comparing the gods worshiped in houses in remote Utsunoya with those of downtown Shizuoka, the differences and changes in the gods worshiped in the two contemporary spaces were predicted. Today, the gods enshrined in Utsunoya's houses are amatelaseu oomikami (天照大神), ancestor, ebisu, daigoku, kojin, inari, the god of the toilet, the god of land, and the god of water. From December 31st to January 3rd and on January 15th, Obon (July 15th), October when there is a festival at the village shrine, and on Ebisu Day (October 19th and 20th), residents offer drinks and food to the gods. Japanese beliefs at home are polytheistic in nature. They maintain national identity through kamidana and maintain family identity through ancestor worship linked to the Buddhist altar. The Japanese beliefs at home are firmly established in the background of the home, the base of family life. Japanese houses have a strong character as a religious space where they coexist "with the gods," and the residents have a cultural tradition of living with the gods.

• Economic and Environmental Geology
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• v.50 no.6
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• pp.497-508
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• 2017

This study was carried out to document and diagnose the conditions of the seated stone statue of Buddhist Master Seungga in Seunggasa temple immediately after its conservation treatment, which was found to be long covered in surface of white materials. The stone Halo was researched along with the Statue, and basic data was secured through precisely examination and nondestructive diagnosis. The result from the surface deterioration evaluation shows that both the Statue and Halo had a little bit of physical deterioration, although their level of chemical deterioration was proportionally higher due to discoloration. The physical property diagnosis using ultrasonic measurements on the Statue and Halo showed that the average ultrasonic velocity was found to be 3,570 m/s and 3,373 m/s, respectively, which corresponds to grade III, an indication of a favorable physical property. The surface covered materials were detected to be Ca, Ti, Pb, Fe, Al and Si, emanating from Hobun (Oster shell powder; $CaCO_3$) or lime ($CaO{\cdot}Ca(OH)_2$) and silicate minerals. Furthermore, Ti and Pb seems to be the component of the white coloring pigments, titanium white ($TiO_2$) and white lead ($2PbCO_2{\cdot}Pb(OH)_2$). Therefore, the seated stone statue of Buddhist Master Seungga is presumed to be painted with Hobun or lime and thereafter painted over with titanium white and white lead.

• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.1
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• pp.57-75
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• 2019

Soundscapes have the potential to help people experience the historical background and cultural traditions by the scenery of a local area and to be used as a cultural and tourism resource. This concept was first explained in detail by M. Schafer and has been developed as a new way of experiencing landscapes using various senses. This research studied the soundscape of Kyodong Island, the so-called "Island of Peace" and designed new cultural acoustic content for education and tourism. Kyodong Island is located right below the Northern Limit Line and the whole island is in the Civilian Controlled Area. The political and economic status of the island has been changed dynamically by the Korean War and the division of the country. These days, the island needs to realize the vision of the "Island of Peace" in a more creative way using local resources, including its "cold war landscape" and the natural scenery of the region. This research applied the concept of a soundscape to document the island, and to reproduce it in an artistic way. A workshop was conducted to learn concepts and techniques of soundscapes with a sound artist. Listening, recording, conducting interviews, and literature research was used to study the soundscape of the island. After that, this research reconstructed the soundscape of the island through a soundscape composition. The main theme of the composition story was the "Hope and Wish for the Harmony and Peace" to show the vision of the "Island of Peace". The initial sub-theme for the introduction part was "First Encounter with Kyodong Island" arranging the representative soundscape, which could be the first impression of the region. The second sub-theme was "War and Tension" using several soundscapes as a metaphor for the tragedy of the Korean War. The third sub-theme was "Everyday Life of Kyodong Island" which described the energy of the present day, after the wounds of the war have healed. The final sub-theme was "Harmony and Peace" using traditional music and keynote sounds of the region as a reminder of the peaceful past, before the war. The recording files were documented as two types of sound maps. One was a two-dimensional map to show the soundscapes from one point of view, and the other used the online application called "Sound Around You". The final artwork was displayed at an exhibition and uploaded on YouTube to be shared publicly. Through this project, we discovered the potential of soundscapes as a medium to preserve the history and local identity, as well as presenting a new vision. The artwork will be exhibited at historically and culturally meaningful places on the Island to utilize the underused places as local tourist attractions and educational resources.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.116-123
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• 2011

This study investigates the characteristics(form, material, structure, method of construction, vegetation) and model of lotus pond in Joseon Royal Tombs for conservation and restoration. The objects of study are the lotus pond of Namyangju Gwangreung, Hyoreung, Gimpo Jangreung and Sungreung that are well-preserved and the record is remaining. The form is two plane types, square shaped include an island and square shaped. The pond is 7.5~81m in width and 6.5~45m in length and the island is 8~16m in diameter. The depth of water is 0.5~1.2m and the cross section form is narrow bottom and wide top. The material of shore protection is soil in Hyoreung, Gimpo Jangreung and Sungreung. The bottom is mud in all sites. I think that the main material of the lotus pond in Joseon Royal Tombs is soil. The lotus pond is built by soil bank in the structure and method of construction. The water supply and drainage are worked through the culvert. There are many kinds of plants in the lotus pond today, however I think that the model of vegetation of lotus pond in Joseon Royal Tombs is lotus the inside, pine tree, fir tree and flowers the around and pine tree the inside of island in compared the present and the old literature. In comparison with the lotus pond in Joseon Royal Tombs and the lotus pond in the Joseon palace, the material is the biggest difference. The main material is soil in Royal Tombs but isodomic in Royal Palace. I think that the difference of material in between two causes the difference of structure and method of construction. The Royal Tombs is valuable in architecture, landscape and esthetics, this study investigated the characteristics and model of lotus pond in Joseon Royal Tombs. I think that this study serves as a momentum to find a traditional technique in Royal water space and offer the foundation to plan in the contemporary water space.

• Korean Journal of Heritage: History & Science
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• v.47 no.4
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• pp.224-243
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• 2014

This study examined the materials and casting technology(cast, alloy, etc.) used in the manufacturing of bronze artifacts based on old literature such as Yongjae Chonghwa, Cheongong Geamul, and The Korea Review. In the casting experiment for restoration of Sangpyong Tongbo, a bronze and brass mother coin mold was made using the sand mold casting method described in The Korea Review. The cast was comprised of the original mold plate frame, wooden frame, and molding sand. Depending on the material of the outer frame, which contains the molding sand, the original mold plate frame can be either a wooden frame or steel frame. For the molding sand, light yellow-colored sand of the Jeonbuk Iri region was used. Next, the composition of the mother alloy used in the restoration of Sangpyong Tongbo was studied. In consideration of the evaporation of tin and lead during actual restoration, the composition of Cu 60%, Zn 30%, and Pb 10% for brass as stated in The Korea Review was modified to Cu 60%, Zn 35%, and Pb 15%. For bronze, based on the composition of Cu 80%, Sn 6%, and Pb 14% used for Haedong Tongbo, the composition was set as Cu 80%, Sn 11%, and Pb 19%. The mother coin mold was restored by first creating a wooden father coin, making a cast from the wooden frame and basic steel frame, alloying, casting, and making a mother coin. Component analysis was conducted on the mother alloy of the restored Sangpyong Tongbo, and its primary and secondary casts. The bronze mother alloy saw a 5% increase in copper and 4% reduction in lead. The brass parent alloy had a 5% increase in copper, but a 4% and 12% decrease in lead and tin respectively. Analysis of the primary and secondary mother coin molds using an energy dispersive spectrometer showed that the bronze mother coin mold had a reduced amount of lead, while the brass mother coin mold had less tin. This can be explained by the evaporation of lead and tin in the melting of the primary mother coin mold. In addition, the ${\alpha}$-phase and lead particles were found in the mother alloy of bronze and brass, as well as the microstructure of the primary and secondary coin molds. Impurities such as Al and Si were observed only in the brass mother coin mold.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.146-169
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• 2018

Artificial or natural artifacts, which have historical, artistic, academic or scenic value as national, ethnic or global assets, are designated as "cultural heritages" under the Act on the Protection of Cultural Heritage. Cultural heritages can be divided into tangible cultural heritages, intangible cultural heritages, and monument and folklore heritages. In addition, depending on the object of designation, a cultural heritage can be designated either as a city or a provincial cultural heritage or a cultural heritage material, by a city mayor or provincial governor, and as a state-designated heritage by the administrator of the Cultural heritage Administration. The regular survey is a part of the policy for the preservation and management of state-designated heritages, which requires that surveys be undertaken every three to five years for the preservation, repair and maintenance of cultural heritages. It was stipulated in the Act on the Protection of Cultural Heritage in 2006, and since then has substantially contributed to the preservation and management of state-designated heritages based on the identification of damage to cultural heritages and the application of appropriate treatment measures. However, some parts of the guidelines on the regular survey, legislated in 2006, occasionally give rise to confusion in managing the regular survey system of state-designated movable cultural heritages, and need to be modified to facilitate the systematic management and improvement of the regular survey system. This study attempts to analyze the structure and operation of the regular survey system of state-designated movable cultural heritages, and proposes plans for improving the way of specifying each department which leads, manages and executes the regular survey, the process of entrusting the survey, and its guidelines and forms. I hope that these plans concerning the regular survey of state-designated movable cultural heritages will contribute to improving the quality and management of the system.

• Proceedings of The Korean Society of Health Promotion Conference
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• 2004.10a
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• pp.1-16
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• 2004

This paper considers the possibilities of health promotion from the following perspectives; (1) IUHPE, (2) socio-cultural similarities, (3) action research, and (4) learning from our past. 1. The IUHPE values decentralized activities through regions, and countries such as Japan, Korea, Hong Kong, Taiwan and China belong to NPWP region. Since IUHPE World Conference was held in Japan in 1995, Japan used to occupy more than 60% of NPWP membership. After 2001, membership is increasing rapidly in Chinese speaking sub-region. The transnational collaboration is still in its beginning phase. 2. Confucianism is one of key points. Confucian tradition should not be seen only as obstacles but as advantages to seek a form of health promotion more acceptable in East Asia. 3. Within the new public health framework, people are expected to create and live their health. However, especially in Japan, the tendency of 'lacking of face-to-face explicit interactions' is still common at health-promotion settings as well as academic settings. Therefore, the author tried participatory approaches such as asking WlFY (interactive questions designed for subjects to review their daily life and environment) and as introducing round table interactions. So far, majority of participants welcome new trials. 4. The following social phenomena are comparatively discussed after Japanese invasion and occupation of Korea ended in 1945; ·status of oriental medicine, ·separation of dispensary services, and ·health promotion specialist as a national license. In contrast to Japanese' tendency of maintaining the status quo and postponing of substantial social change, trend toward rapid and dynamic social changes are more commonly observed in Korea. Although all of above possibilities are still in their beginning stages, they are going to offer interesting directions waiting for further challenges and accompanying researches.

• Korean Security Journal
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• no.27
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• pp.129-159
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• 2011

Physical security has always been an extremely important facet within the security arena. A comprehensive security plan consists of three components of physical security, personal security and information security. These elements are interrelated and may exist in varying degrees defending on the type of enterprise or facility being protected. The physical security component of a comprehensive security program is usually composed of policies and procedures, personal, barriers, equipment and records. Human beings kept restless struggle to preserve their and tribal lives. However, humans in prehistoric ages did not learn how to build strong house and how to fortify their residence, so they relied on their protection to the nature and use caves as protection and refuge in cold days. Through the history of man, human has been establishing various protection methods to protect himself and his tribe's life and assets. Physical security methods are set in the base of these security methods. Those caves that primitive men resided was rounded with rock wall except entrance, so safety was guaranteed especially by protection for tribes in all directions. The Great Wall of China that is considered as the longest building in the history was built over one hundred years from about B.C. 400 to prevent the invasion of northern tribes, but this wall enhanced its protection function to small invasions only, and Mongolian army captured the most part of China across this wall by about 1200 A.D. European lords in the Middle Ages built a moat by digging around of castle or reinforced around of the castle by making bascule bridge, and provided these protections to the resident and received agricultural products cultivated. Edwin Holmes of USA in 20 centuries started to provide innovative electric alarm service to the development of the security industry in USA. This is the first of today's electrical security system, and with developments, the security system that combined various electrical security system to the relevant facilities takes charging most parts of today's security market. Like above, humankind established various protection methods to keep life in the beginning and its development continues. Today, modern people installed CCTV to the most facilities all over the country to cope with various social pathological phenomenon and to protect life and assets, so daily life of people are protected and observed. Most of these physical security systems are installed to guarantee our safety but we pay all expenses for these also. Therefore, establishing effective physical security system is very important and urgent problem. On this study, it is suggested methods of establishing effective physical security system by using system integration on the principle of security design about effective security system's effective establishing method of physical security system that is increasing rapidly by needs of modern society.

• Trans-
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• v.2
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• pp.1-38
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• 2017

Dance, as an art which expresses thoughts and emotions by movement human, is included in work that its copyright has to be protected, choreographers who are creators and dancers who are performing can exercise their rights included in copyright laws. However, artists who work in the dancing scene have lack of awareness about copyrights and the application level is low. The purpose of this thesis is to look into the current status and issues about dance copyright and to discuss activation plans and effectiveness plans for dance copyrights. The main point is to check into the level of awareness for dance copyrights with choreographers, dancers and students majoring in dance who are in charge of the art of dancing, to present issues about the necessity of the dance copyrights protection plans by analyzing interviews-in-depth and to prepare the dance copyrights protection plans which are concretely realistic. For the research methods, first, I looked into ideas and contents about copyrights through a document research and then, wanted to prepare theoretical background by reviewing actual cases of performing art copyrights related to dance. Next, I carried out surveys about awareness of copyrights with students majoring in dance, choreographers and dancers then carried out analysis of actual proof. Also, I chose three famous dancers who are actively performing in the current dancing scene and did interviews-in-depth about dance copyrights then carried out a recording analysis. I tried to complement the analysis by discussing deeper which I couldn't deal with in the previous surveys and to contemplate awareness activation of dance copyrights and plans. As a result of the research, the level of the awareness about dance copyrights through age, major, education and career was very low. The level of awareness was almost same compared to the previous research 10 years ago. 'Music', which can be an element of copyright issue in dance, was the highest in rate, and dance was recognized as an art which is combined with various elements as a combination work. The way of protection for works of choreography and performance only used data preservation and contracts and didn't register copyrights or record in dace notation. Majority of responders answered that they couldn't have any education about copyrights while they were recognizing the necessity of education and management for copyrights. The analysis of interviews-in-depth was also matched to the result of the previous surveys and a deeper discussion about the status of dance copyrights and issues was carried out. The plans of effectiveness for dance copyrights through the result of previous research are as followings. First, an advanced education is necessary above all to increase the awareness and application of copyrights in dancing scene. Long-term education like study curriculums and short-term education like special courses and seminars should be combined, and education about copyrights for dance groups, choreographers, dancers and students majoring in dance should keep on going. Second, revision of performing art works is necessary for the activation of dance copyrights, and establishing a dance copyright association to manage copyrights systematically and training dance copyright experts are necessary as well. Third, as the way of copyright protection for choreographers and dancers, an establishment for relation gain and loss about copyrights is necessary when creating dance works and performing, and registration of dance works should be activated. Also, the dancing scene should sign contracts for choreography and performance and this contract culture should be activated, and it should systematically preserve and manage choreography and performance records through basic ways. Hereby, it is considered to prepare a foundation to foster the awareness of dance copyrights and activate dance copyrights.