• 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.

• (The) Research of the performance art and culture
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• no.35
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• pp.405-439
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• 2017

In this article, I suggest issues and tasks in transmission of Gyeonggi Province folk songs after thorough study of designation of Gyeonggi Province folk songs as intangible cultural asset, reproduction and transmission. Intangible cultural assets are classified into seasonal playing and songs. Originally, category or extension of folk songs is above mere songs and it also embraces personal lives as well as village communities. Intangible assets of folk songs are folk art, group events and non-stage events at the same time based on tradition, history, uniqueness, characters of field value. Gyeonggi Province has 9 intangible assets now because of the revocation of several assets (All Gyeonggi Province, Hwasung, Gwacheon) within five years after initial designation of 13 assets in 1998. They are mostly distributed in the north Gyeonggi region where is close to the DMZ and delay in development seems to have enabled the preservation. Most of the intangible cultural assets are farming songs and weeding which show characteristics of Gyeonggi Province. Most of the designees are who performed excavation, recovery, excluding a few cases without designees on designation, and almost all the designee passed away. Number of cases have been revoked because transmission was not completed or some cases were transmitted to groups rather than specific designees. Subscription concert, the biggest and most representative event, is performed once a year with all of the 9 intangible cultural assets in the original complete forms of the designation. Intangible cultural assets are classified into seasonal playing and songs. In general, current performance of the intangible cultural assets and folk songs are same as the originally designated forms and are not in varied forms other than folk songs like songs for rice-planting and weeding. Funeral songs are transmitted in Yangju and Yangpyeong. In terms of the operation, preservation societies having training centers have been performing more constant activities for preservation including lecture, performance and transmission. Members are quite aged and the societies are suffering from lack of support fund for reproduction and transmission. Problems in reproduction and tasks for the transmission I would like to suggest are like followings. First, preservation and value of the cultural assets. Second, new understanding of designation and revocation of the intangible cultural assets. Third, record of performance and sound source. Fourth, liaison with local communities. Fifth, organization of professional resources and establishment of systematic support and management.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.1
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• pp.1-9
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• 2020

This paper investigates spatial composition and landscape characteristics of the royal tomb(Jangneung in Paju) where the 12th King(Injo) and the Queen(InnYeol) of the Joseon Dynasty are buried. Based on the investigations, the study suggests the management plan of the Royal tomb at the end. The study includes research on ancient literature and the on-site survey to estimate the ancient landscape architecture of the Royal tomb. Thereby, it is intended to provide the basic data for the identification, preservation, and restoration of the landscape architecture. As a result of the study, first, Jangneung is confirmed that it is a typical formal landscape structure of the Royal tomb in the Joseon Dynasty. Second, Ecological resources around the royal tombs are consistent with previous records and current field research. Third, although the Japanese colonial rule damaged much of the Royal tomb, it preserves much of its core facilities. However, the restoration of ancillary facilities is required, and a World Heritage Conservation Management Plan is required that complies with the ICOMOS Charter.

• (The) Research of the performance art and culture
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• no.18
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• pp.563-598
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• 2009

Gangneung Danoje is a local festival that has its origin in the county festival handed down premodern society. It was designated as an important intangible cultural asset in 1966, and has appreciated as a representative traditional festival of Korea since UNESCO designated it as 'the Oral and Intangible Heritage of Humanity' in 2005. Generally, it is known as a festival which it keeps up the premodern tradition. However, we can know that it is different from the festival performed in the 19 century in its framework and contents if we pay attention to the texts of festival performed in Gangneung today. I think that this change is a result of cultural adaptation by the change of transmission situation, and especially today texts of festival is an result of the pursuit, restoration and reproduction of its traditional form so as to be designated as a cultural asset. In this paper, after I have an accurate grasp of the traditional form of Gangneung Danoje from the present data related to Gangneung Danoje, I will compare its traditional text with the existing text which was reconstructed at the time of being designated as an important intangible cultural asset. To do this work, I verified the composition method of a county festival by investigating a general aspect of county festival in the $Chos{\breve{o}}n$ dynasty, brought out the aspect of its change by comparing its existing text with the procedures and contents of Gangneung Danoje before the Japanese occupation by force, and discussed the matter of its some changes. As a result of my work, I ascertained that the present Gangneung Danoje is very different from the festival transmitted in premodern society in the structure, time and space of festival, and the contents of performance containing the procedures of meeting god, seeing god off, and enjoying god.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.50-73
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• 2009

Recently old stone walls were designated as registered cultural properties that meant an extension of categories about cultural properties from a spot area to whole area. Moreover given the changing situation of residential pattern, which is due to rapid social change, this designation can be seen as a significant measure to keep as intact as possible traditional landscapes in agricultural and fishing villages. In this paper, I analyze the symbol system and meaning of old stone walls and attempt to pick out the cultural elements which are related to them. These days we have made efforts to various aspects for which make traditional cultural resources into cultural contents. But many studies had done before emphasized aspects for beauty only. Especially existing studies about an old stone wall was mainly focused on architectural interpretation and tourist route. So we need to build a plot around oral research and need a creative approach for sharing with tourists. Cultural contents combine the original form, potential and capabilities with media by detecting original form of culture and finding out the worth and meaning. In this paper examined the probability of using by investigating a stone wall in Sang-hak Village that is related with recovering of places to live in contemporary society and finding cultural contents. I suggest more creative ways to make cultural properties into tourist resources by considering the possibilities of place marketing using storytelling, based on an analysis of data gathered.

• Korean Journal of Heritage: History & Science
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• v.50 no.3
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• pp.88-109
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• 2017

As the technique to remove Paraloid B-72, which is known as an irreversible material, the method using organic solvent and heating, though the ways vary depending on the kind of material to be removed, has been usually used, but it has yet to apply to mud mural because of the technical limit in processing and the potential risk of damage and, moreover, the removal efficiency which also remains unproven. Thus, in a bid to seek the way to safely remove Paraloid B-72 contained in mural, the test was conducted in a way of applying a compress method, which is deemed most efficient. The solvents which are proven to be Paraloid B-72 were applied to the absorbents such as active carbon fiber and methyl cellulose and then were eluted to the surface of mud mural sample which was prepared in the same size and condition for a certain time before evaluating the stability and removal efficiency. Such test was intended to identify the applicability to the mural of Mireukjeon Hall at Geunsansa Temple, which had been treated with Paraloid B-72 for preservation in the past. As a result, the way of mixing the absorbent such as active carbon fiber and Xylene alone or with other quick vaporable solvents proved to be most efficient in removing Paraloid B-72 from mud mural and particularly Acetone:Xylene(1:1wt%) was found to be the most stable among others. Such a test outcome is expected to be a useful data for removing Paraloid B-72 from the mural of Mireukjeon Hall at Geunsansa Temple as well as for restoring other mural cultural assets in the coming days.

• Conservation Science in Museum
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• v.25
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• pp.51-62
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• 2021

The Belt with Rhinoceros-Horn Ornaments(known as a seodae in Korean) from the family of Princess Deokon's descendants housed in the National Hangeul Museum underwent emergency treatment for a special exhibition in 2019 upon the request of the National Hangeul Museum. Priority was given to the restoration of the original form of the severely damaged belt and the repair of its detached horn ornaments. Prior to the conservation treatment, researchers conducted a theoretical study of the belt with rhinoceros-horn adornments to learn the names of its structural components and the changes in form that the type experienced by period, thereby establishing a plan for conservation treatment and setting a direction. Among the belts worn by officials from the Joseon dynasty, rhinoceros-horn ornaments were attached to those of officials of the first rank and were considered the most precious behind the king's belt with its jade ornaments. The rhinoceros horn adorning the belt is classified into three categories according to quality. This belt has horn adornments of the highest quality, falling under the "grape design" category with dark brown dots concentrated in the center. The belt has a rectangular shape and lacks a buckle, reflecting a popular form from the nineteenth century. The structure of the belt was identified over the process of conservation treatment, offering information about its method of production. In addition, comparison of the relic with belts with rhinoceros-horn ornaments depicted in Joseon-period portraits of officials allowed the identification of changes in formal features and the detailed structures of belts with rhinoceros-horn ornaments by period. It confirmed that the belt subject to conservation treatment shows the features of belts with rhinoceros-horn ornaments produced in the nineteenth and twentieth centuries.

• Conservation Science in Museum
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• v.26
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• pp.83-182
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• 2021

This study summarized the results of the conservation treatment and investigation on the production method of the golden crown (Treasure No. 339) excavated from Tomb No. 129 (also known as Seobongchong Tomb) in Noseo-dong, Gyeongju-si, Gyeongsangbuk-do Province. The golden crown from Seobongchong Tomb was discovered during the excavations conducted by the Museum of the Government-General of Korea in 1926 during the Japanese colonial era. It is currently in the collection of the National Museum of Korea. A total of six Silla golden crowns have survived in Korea, among which the crown from Seobongchong Tomb is the only example with a dome-shaped hemispherical decoration attached with a bird ornament while otherwise showing the typical features of Silla crowns. The crown had been repaired following its excavation using metallic materials and adhesives, but due to the partial deformation and damage brought about by the repair materials, it required further conservation treatment. This article describes in detail the overall process of the conservation treatment and the restoration of the original form of the golden crown from Seobongchong Tomb, particularly the method of reinforcing the joints to secure the stability of the crown. It presents the characteristics of the crown's production as revealed in the investigation during the conservation treatment, and further analyzes the relationship of this crown from Seobongchong Tomb with other Silla crowns through a comparison of their production techniques. The investigation revealed that the crown was primarily decorated with golden sequins at the time of its production. At a later point some of the sequins in the upright ornament were replaced with comma-shaped jade beads and additional comma-shaped jade beads were added to the headband. In order to determine if such modifications to the decoration had occurred with other Silla crowns, the decoration of the six extant Silla golden crowns were investigated. The crown from Cheonmachong Tomb features traces of this same modification to the decoration and possesses other similarities with the crown from Seobongchong Tomb.

• Sim-seong Yeon-gu
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• v.38 no.2
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• pp.239-268
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• 2023

Humanity has faced destruction(chaos) due to catastrophes (Covid-19, war, earthquake) and awaits a new restoration. For civilizations and individuals, creation or creativity is essential to psychic development. Creativity is the driving force that renews an individual when a new stance and attitude of consciousness or a new adaptation to reality is desperately needed in the depth of the human mind. This article is the result of an exploration of the nature and characteristics of creativity presented by a series of four dreams. First, the definition and form of creativity were explored in the context of religion, mythology, and history of Eastern and Western. While Western mythology refers to creation or creativity originating from God, ancient China viewed creativity as expressed through the interaction of yin and yang, the movement of Tao. In East and West, the form of creation is divided into creation from nothing, creation from matter, and creation through dissolution from the matrix, which psychologically suggests that creativity or creation originates from the unconscious, the seedbed of infinite potential and creative power. Next, with insights from the second dream, the characteristics of creativity were discussed. Creativity occurs through transcendent function and 'going beyond the frame of reference,' that is, 'transgressivity.' Third, the nature of creativity was explored as the creativity of the unconscious aims for regeneration and drives the renewal of Self archetypal images within the collective and individuals. Ultimately, the creativity of the unconscious is the goal of the whole psyche and aims for individuation to become the whole. Realizing the creativity of the unconscious is the fate of humans as the second creator.

• KSCE Journal of Civil and Environmental Engineering Research
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• v.33 no.3
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• pp.875-888
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• 2013

The researches have recently progressed toward the use of the superelastic shape memory alloys (SMAs) to develop new smart control systems that reduce permanent deformation occurring due to severe earthquake events and that automatically recover original configuration. The superelastic SMA materials are unique metallic alloys that can return to undeformed shape without additional heat treatments only after the removal of applied loads. Once the superelastic SMA materials are thus installed at the place where large deformations are likely to intensively occur, the structural system can make the best use of recentering capabilities. Therefore, this study is intended to propose new buckling-restrained braced frames (BRBFs) with superelastic SMA bracing systems. In order to verify the performance of such bracing systems, 6-story braced frame buildings were designed in accordance with the current design specifications and then nonlinear dynamic analyses were performed at 2D frame model by using seismic hazard ground motions. Based on the analysis results, BRBFs with innovative SMA bracing systems are compared to those with conventional steel bracing systems in terms of peak and residual inter-story drifts. Finally, the analysis results show that new SMA bracing systems are very effective to reduce the residual inter-story drifts.