• 제목/요약/키워드: Museum identity

검색결과 84건 처리시간 0.021초

박물관의 정치학: 인도네시아 국립박물관에 표상된 오리엔탈리즘 연구 (Museum Politics: A Study of Orientalism as Represented in the National Museum of Indonesia)

  • 송승원
    • 동남아시아연구
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    • 제21권1호
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    • pp.137-184
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    • 2011
  • This article is aimed at understanding the political narratives represented in the National Museum of Indonesia. Starting initially as a colonial museum, the National Museum of Indonesia functioned as a useful tool for the Dutch colonial force to fuel its imaginations of the colonial territory and the people within it. The Dutch used the cultural display to advertize its benevolent colonial rule. All the while, the museum also inevitably reflected orientalism on the people and the culture of the colony. The republic of Indonesia inherited the colonial museum's practices and its display patterns. The business surrounding the museum also played a key role in the newly-born nation-state laying out a future for its redefined territory and people. Thus, what the colonial force imagined for the colonial territory through the study of museum displays was rather directly transferred to the republic without serious consideration of the decolonization process. Four main characteristics have been seen in the museum displays. The first is an emphasis on the glorious Hindu-Buddha history, from which numerous temples, statues, and jewelry have been found. Secondly, the Islamic period, which spanned between the Hindu-Buddha times to the colonial era, has almost completely been eliminated from the display. Third, the colonial era has been depicted as the time of Europe's exportation of scientific tools and adaption of sophisticated living patterns. Fourth, the images of ethnic groups were represented as being stagnant without reflecting any challenges and responses that these groups had faced throughout history. Looking at these display patterns, it can be concluded that all the dynamic internal developments and anti-colonial resistance that took place during the Islamic and Colonial Era have simply not been represented in the museum display. These display patterns do not reflect the real history or culture of the archipelago. Two considerations are thought to have influenced the neglecting of social realities in the display. The first of which is the Dutch's and Republic's apprehension over the possible political upheaval by the Islamic forces. Yet, more fundamentally, cultural displays themselves are distinct from historical education in that the former pays more attention to business ideas with an aim to attract tourists rather than to project objective historical knowledge. Thus, in cultural displays, objects which work to stimulate fantasies and spur curiosity on archipelagic culture tend to be selected and emphasized. In this process, historical objectivity is sometimes considered less vital. Cultural displays are set up to create more appealing narratives for viewers. Therefore, if a narrative loses its luster, it will be replaced by another flashy and newly-resurrected memory. This fact reveals that museums, as transmitters of historical knowledge, have a certain degree of limitation in playing their role.

도시환경과 건물 재생을 위한 파노라마 이미지 공간구성 방법 (A Study on the Panoramic Perception for Restoring of Urban Environment and Architecture)

  • 전수경;남경숙
    • 한국실내디자인학회논문집
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    • 제23권1호
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    • pp.78-87
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    • 2014
  • The purpose of this paper is to analyze the relationship between panoramic perception and space organization for restoration of urban environment and architecture. Panorama is a collective visual catalogue composed by series of perspective images. It is a product from continuous movements of viewer by defamilarizing real image and structuring order between city and building. Through understanding the panoramic image, the viewer is able to achieve the total image of the city. For example, achieving visual perception of the city by employing the panoramic view from different historical backgrounds and cultures, Berlin developed its urban characteristic by rebuilding panoramic view as an aesthetic device. First, this paper mention theory of panorama as an aesthetic device for shaping the city from the building. Second, this paper analyze the relationships between characteristics of panorama and historical contexts for why those panoramic views are valuable by mentioning the Altes Museum, the Berlin National Gallery, Museum of Modern Literature, and Folkwang Museum of panoramic view. In conclusion, this paper argues that visual perception such as panoramic view is the valuable device for organizing the image of the city's own identity. Constructing vision of each city influences not only shaping the city but also mapping the mental views of the building. Also, historical conditions and open spaces are one of the inherent elements combined with panoramic view for establishing urban identity. In search for good place making, it is important to understand the role of the historical context and fabric plan in shaping how a resident sees - literally, sees- their city with buildings. Berlin serve as excellent counter example in how the valuable place making panoramic mental views of urbanities take shape.

문화상품으로서 토트 가방에 나타난 문화정체성과 디자인 개발 -한복의 모티브를 중심으로- (The Cultural Identity Found in Tote Bags as a Cultural Product and the a Development of a Design -Focused on Hanbok Motifs-)

  • 정다울;김태은;방하은;조선형;김민자
    • 한국의류학회지
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    • 제38권4호
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    • pp.506-517
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    • 2014
  • A bag is a daily article carried in one's hand or on one's shoulder for things as well as a fashion item. The functions of a bag were derived to include portability, decorativeness, brand identity, message communicability and cultural identity. Souvenir bags sold at a gallery or a museum are goods to maximize the cultural identity of a bag based on national emblems, exhibitions and characters as design motifs. Based on the typological analysis of souvenir bags showing cultural identity, this study developed a design with a motif of Hanbok from Korean traditional cultural content to develop a tote bag design that reveals Korean cultural identity. Under a traditional Hanbok motif colors, sizes and patterns were reinterpreted in a modern perspective. For such a research purpose, 8 kinds of tote bags were developed. A tote bag design that reflects Korean cultural identity will contribute to raising the potential to develop cultural goods that are modern, popular and differentiated in the global market.

제주지역 박물관의 의장적 특징에 관한 사례연구 -제주특별자치도 경관관리지침을 중심으로- (A Case Study on Design Characteristics of Museums in Jeju - Focused on Landscape Management Guideline of Jeju Special Self-governing Province -)

  • 박정근
    • 한국농촌건축학회논문집
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    • 제15권1호
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    • pp.47-56
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    • 2013
  • As architecture has a role of vessel that contains human life, architecture of museums in a region must be a vessel that contains identity of the region. Jeju Province possesses excellent natural landscape acknowledged by the world. As such, architectural design of museums in Jeju region, differentiated in terms of natural, humanistic and cultural characteristics from other regions, must include identity of Jeju. Jeju has established and is operating so many museums with different themes that it is referred to as the heaven of museums. In addition, museums as cultural facilities must be the measure of cultural level representing regional identity and perform the role of advance guard that leads architectural culture of the region. Also, such excellent architectural asset is an important landscape element that increases value of the region. Based on Landscape Management Guideline established in 2009 by Jeju Special Self-governing Province under such critical mind, this study will support design problems and improvements of museums through case study and analysis on design characteristics of national and private museums in Jeju. Accordingly, the purpose of this study is to provide basic data to be pursued by future museums that contain identity of Jeju, based upon the results of analysis described above.

Future-oriented Characteristics Examined through the Identity and Modernity of Sonia Delaunay's Work

  • Keumhee Lee
    • 패션비즈니스
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    • 제27권6호
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    • pp.47-65
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    • 2023
  • The purpose of this study is to derive the future-oriented characteristics Sonia Delaunay presented at the time based on the identity and modernity shown in her works and diverse activity. The scope of study spans from 1907 to the start of World War II and includes both applied and fine arts, with a focus on textiles and fashion. The research method is a literary study that includes old documents, exhibition booklets, and explanations from museum curators. The visual materials are actual works observed at exhibitions and digital images of various exhibitions. As a result of the research, she was a practitioner who expressed her identity in marriage, artwork, textiles, and fashion. In order to embody her design and express modernity, she showed geometric and modern motifs and she incorporated a sense of bright color and modernized light into her work by following the principle of simultaneous contrast in color. Additionally, she applied Hungarian embroidery techniques to simple materials and created geometric abstraction with her simultaneous colors, which contributed to both originality and the mass production of textile design. The future-oriented characteristics she presented are the dynamism of modern rhythm, the expansion of convergence and collaboration, the innovation of new production and exhibition, the media of consumer society, and the femininity of modern life. She recognized the mass consumer society and mass production of the early 20th century and actively utilized various media and genres to evoke a dynamic sense necessary for modern life and presented a design to be seen as a modern woman.

건축박물관의 기능구성에 따른 유형별 특성에 관한 연구 (A Study on the Characteristics of Architectural Museum Based on Functional Configuration)

  • 조성용
    • 한국산학기술학회논문지
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    • 제13권5호
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    • pp.2360-2367
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    • 2012
  • 건축은 한 나라의 문화적 역량과 자취를 가장 잘 표현해주는 문화유산이다. 그럼에도 불구하고 현재 이 분야의 자료 및 정보들은 많은 부분 소멸되었거나 그럴 위험에 처해있고, 그나마 존재하는 자료들 역시 산재되어 관리되고 있는 열악한 형편이다. 따라서 본 논문은 현재 한국의 건축도시 관련 박물관의 운영 현황을 살펴보고자 한다. 또한 해외 선진사례의 비교분석을 바탕으로 한국적 상황에 맞는 건축박물관의 모델은 어떠해야 하는지를 살펴보고자 한다. 이를 통하여 본 논문에서는 건축박물관의 유형별 특징요소를 도출하고자 한다. 그 결과 본 논문은 박물관의 공간 및 기능구성은 그것의 운영특성에 따라 상당히 좌우되며 이는 아카이브중심, 전시중심, 연구중심의 시설특성으로 반영됨을 밝혔다. 또한 이러한 유형별 특성이 실제 사례에서 어떻게 반영되는가를 분석하기 위하여 MAXXI, Nai 등의 사례를 비교분석하였다. 본 논문은 궁극적으로, 건축박물관의 공간프로그램은 변화 가능하고 미래의 수요에 적응가능한 단계별 프로세스로서 접근하는 것이 합리적임을 사례를 통하여 분석하였다.

디자인 진흥 기관으로서의 디자인 박물관 (The Design Museum as a Promoter)

  • 최정아;김현중
    • 디자인학연구
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    • 제20권3호
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    • pp.269-278
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    • 2007
  • 1852년 영국 런던에 세계 최초의 디자인 박물관이 설립된 이후, 디자인 박물관의 상업화와 권력화에 대한 비판에도 불구하고 서구 디자인 선진국들은 디자인 박물관을 중심으로 디자인 산업을 보호하고 육성함으로써 디자인 정체성을 확립하고 그 우수성을 홍보하며 국가 경쟁력과 삶의 질을 향상시켜왔다. 21세기 문화 경제 시대를 맞아 고부가 가치를 창출하는 디자인의 중요성에 대한 인식이 높아짐에 따라 한국 디자인 발전을 주도할 디자인 박물관 설립에 대한 필요성이 제기되고 있다. 본 연구는 디자인 박물관 관련 연구가 미비한 현 상황에 한국 디자인 박물관 설립을 위한 기초연구로서, 시간축을 중심으로 수직적인 통시적 접근을 통해 해외 디자인 박물관이 디자인 발전을 위해 어떠한 역할을 수행하여 왔는지를 살펴보고, 수평적인 공시적 접근을 통해 현재 디자인 박물관이 성공적인 역할 수행을 위해 어떠한 활동을 하고 있는지를 알아봄으로서 한국 디자인 박물관의 역할과 방향을 제시하였다.

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메타버스 플랫폼을 활용한 민화 미술관 기획 연구 -제페토 사례를 중심으로- (A Study on the Planning of Minhwa Museum Utilizing the Metaverse Platform : Focusing on Zepeto Case)

  • 최은진;이영숙
    • 한국게임학회 논문지
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    • 제21권6호
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    • pp.63-74
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    • 2021
  • 메타버스는 스마트폰을 상시 휴대하는 MZ세대의 생활 패턴과 자신의 정체성을 중요시하는 성향에 잘 맞는 가상공간이다. 이 연구는 한국의 전통문화 예술인 민화를 메타버스 플랫폼인 제페토에서 미술관으로 개발하는 기획 모델을 제안한다. 이를 위해 메타버스 플랫폼의 특징인 오픈월드, 샌드박스, 크리에이터 이코노미, 아바타에 대해 분석하고, 이를 제페토에 민화 미술관을 개장하는 기획 아이템으로 발전시킨다. 한국 전통예술을 현대적으로 재해석하면서, MZ세대의 뉴트로 감성에 맞는 메타버스 기획 개발 모델로서의 연구 가치가 있다.

'연구 업무 전담제'를 통해 살펴보는 국립현대미술관 전시 기획의 새로운 패러다임 (New Paradigm in exhibition organization at the National Museum of Contemporary Art)

  • 최은주
    • 미술이론과 현장
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    • 제3호
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    • pp.67-84
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    • 2005
  • Since the evaluation of its intellectual activities and abilities is done by curator's capabilities, planning exhibition is very important as the final result achieved by their own knowledge, information, and research. ARPA(Advanced Research Project on Arts) is suggested as the system which enables curators responding simultaneously to the society in the times, based on its special characteristics. If this system settles well, which means that the curators at NMCA(National Museum of Contemporary Art, Korea) play their roles as the professionals in each of their fields, the goal of consolidating the status of museum as the representative national museum, and building up competent department of curators, will be achieved at the same time. To clarify above, the curators set up the various assignments of research about the types of arts such as painting, Korean painting, sculpture, installation, new-media, design, craft, photogarphy, architecture, etc. And they establish the art objects classified by the regions, such as the Northern American, Southern American, European, Asian, and other Third World countries. They elaborate art objects more on the history, the work, the artist, and the issue of contemporary art. Furthermore, when the curators devote deeper study to those research subjects, they can have the opportunities to design an exhibition upon the research. Today, the museum of art is 'The Place for Communication and Encounter', it is regarded important to share the aesthetical, creative values with current artists, and to understand mutually with the spectators. It is needed to improve the curator's work, in order to meet the demands of the times and even to advance. Because the form of 'exhibition' is the tool that reveals the identity NMCA aiming at, the motivation, the development, and the realization should be leaded by the curators, who are the mainstream of the museum. ARPA is a system for identifying the exhibition like mentioned above. The main purpose of this system is to produce synergy effect, having the researching, collecting work in liaison with planning exhibition. ARPA will be able to improve the quality of exhibition through the way of developing the exhibition, passing through the stable process in the long run. So far, I have referred to a new paradigm of the exhibition design at NMCA via ARPA. Yet, there still remain missions in reality, such as analyzing the previous exhibition and reshuffling personnel and system, which should be done. When these matters settled, these plans would be suggested practically. At this point, it is the most significant that NMCA is attempting to let others aware of the importance of exhibition planning based on research. when the ARPA and exhibition planning is conjoined together successfully, the competent exhibition will be achieved, which can offer a meaningful exhibition to the art world, strengthen infra structure thru exchanging with public museum in the region, and eventually, establish a network with museum in foreign countries.

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근대공간의 장소성과 기억에 관한 연구 <서울역>, <온양민속 박물관>, <옥포조선소>를 중심으로 (A Study on Placeness and Memory of Modern Space With Focus on , , )

  • 배윤호
    • 문화기술의 융합
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    • 제1권2호
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    • pp.1-19
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    • 2015
  • 한국의 근대화 시기는 1920년대 식민지 시기와 1960년대 경제개발시기 두 시기 나누어진다. 근대화시기에 만들어진 공간들은 대다수 국가주도형으로 생산된 공공의 공간들이다. 이러한 근대공간들은 기능성이 강조되는 공공 생산의 장소이자 근대 국가시스템의 장소정체성을 상징하는 국가권력 공간들 이었다. 사회의 변화에 따라 근대공간들은 이제 더 이상 장소적 기능을 상실한 채 모뉴멘트 건축물로 존재하며 과거의 장소정체성에 새로운 가치를 부여할 개념규정이 필요한 시기이다. 간이역, 발전소, 탄광, 물류창고, 폐 공장 등... 근대공간에 새로운 장소정체성이 확립되는 과정과 장소와 기억의 문제를 영상기록 하여 근대화의 큰 특징인 사고의 변화과정과 공간에 투영된 근대적 개념들, 근대사회의 제도, 체계 수립 과정에서 장소성, 공간 속 사람들의 관계성에 주목하고자 한다. 근대공간과 기억의 관계는 < 서울역 >에서, 근대공간과 근대 기록의 관계는 <온양민속박물관>에서, 근대공간과 장소정체성은 <옥포 조선소>에서 찾아본다. 각 장소의 정체성과 기억의 관계는 구술목소리와 영상기록을 통하여 근대공간(장소성)과 개인구술(기억)의 모순된 힘의 관계를 알아본다.