• Korean Architects
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• s.537
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• pp.26-27
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• 2014

• Journal of Korean Library and Information Science Society
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• v.16
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• pp.69-98
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• 1989

The purpose of this study is to review the historical development of British Museum Library and its cataloging rules which really marked the beginning of the modern era of cataloguing. The results of the study can be summarized as follows (1) Sir Anthony Panizzi was the most creative force in the history of the British Museum Library. He devoted himself to the formation of the British Museum Library cataloging policy and the compilation of printed catalogues. Moreover, he laid down the sound acquisitions policy and the vigorous a n.0, pplication of the copyright deposit privilege. He designed a great circular reading room and raised standards of library service and administration. (2) British Museum Library Cataloging Rules : 1. are notable for their pioneering efforts-this was the first major catalogue code-and for their influence on all subsequent codes. 2. introduced the concept of corporate authorship but has never dealt with problem very satisfactory. 3. went to great lengths to avoid title entry. 4. used a number of form heading, example for, ACADEMIES, PERIODICAL PUBLICATION, EPHEMERIDES, CATALOGUES etc.

• Journal of the Korean Society for information Management
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• v.26 no.4
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• pp.299-318
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• 2009

The ideas of user oriented service wasn't a major issue in libraries in the past decade. However, from now on, our library visitors have choices in the book selection processes, and the library may not be the first choice for their information demands. Competitors such as museum, culture center, and even private reading academy are those who anticipate user demands and satisfy them before the librarians do. What may have been perceived as excellent service a few years ago is not acceptable today anymore in the library. This study reveals current situation of English library collection and their practice as a sound English learning tool for Korean students. The researcher introduces library Marketing Concept and Reading Programs as an effective management tool.

• Journal of Conservation Science
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• v.34 no.4
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• pp.245-257
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• 2018

To investigate the deterioration of textiles with metal thread, I surveyed 40 textile objects, dating from the 11th to the 19th century from Korea, China, Japan, and Central Asia at the Metropolitan Museum of Art, New York. This survey included various types, widths, and thicknesses of metal thread. In addition, deterioration was examined under the microscope and color information was collected using the spectrophotometer. While investigating metal thread in the collections, I fabricated 12 different types of metal samples with metal leaf(24K gold, silver, and copper leaf), adhesive (hide animal glue and a mixture of hide animal glue and iron oxide red), and paper substrate(Korean mulberry and Taiwanese kozo paper). The accelerated deterioration process of those fabricated samples was carried out using a light box(UV and daylight), and a humidity cabinet. In the light experiment with blue scales textile fading card(aka, blue wool standard), the metal leaf began to peel off during the deterioration process with 756,000 lux-hours UV and daylight. In the temperature and humidity experiment, I could observe the reddish tarnish on copper, and some part of it began to peel off. Color reading on the light exposed samples showed that the degree of color change on the surface follows the amount of exposure as it increased over time. On the other hand, color change on the samples after artificial deterioration using temperature and humidity factors showed random change of color with occasional spikes. Distortion of original shape worsened in the samples exposed to temperature and humidity.

• The Journal of Art Theory & Practice
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• no.1
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• pp.23-48
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• 2003

Art theorists support art productions by, introducing them to the public, explaining their meanings, and playing a crucial part in the development of art. These tasks seem like their opus. Because the principles of art production and the artistic languages are quite different from the ordinaries, we need 'interpreters' who can mediate us and the artists. Art works need interpretation. And the interpretation includes not only the characteristics of the given art work, but the customs, history, and the unique qualities of the race that produced the art work. The former director of the Korean National Museum, Choi Soon-woo wrote on the characteristics of Korean art as those that stem from the poised, arbitrary, and non-elaborate state of mind. The statement of the former Director of the National Museum has its weight far greater than just a personal opinion. In fact, we encounter the same resonance of this statement over and over reproduced in the mass media. The problem lies on that it deals with not only a single art work, but the entire Korean art. And going further, this kind of remarks are already infused into every sector of our thought on art appreciation. In this paper, I argue for a re-reading of the characteristics of Korean beauty based on two reasons. First, the characteristic of art work is contemporary, thus we cannot define the characteristics of entire Korean art in a few words without the context of the period of its making. Second, Director Choi defined the characteristics that I pointed out above as 'natural' and 'nature-friendly.' Nature or being natural is not an usual word that defines the characteristics of art work, which stands for the opposite side of the nature in the binary opposition of nature/culture. To delve into these misunderstandings of Korean beauty in the popular notions of Korean art, I suggest the re-reading of three major articles on Korean art: Ryoo Jong-yeol's "Korean race and its art," Ko You-seup's reiteration of Ryoo's thesis called "Discourses in Korean Art History and Aesthetics," and Yoon Hee-soon's antithesis of Ryoo Jong-yeol titiled "Studies on Korean Art History."

• Journal of Conservation Science
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• v.32 no.1
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• pp.11-19
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• 2016

Seungja Chongtong is a small korean tubular arm that made by particular arm-making way imitating a chinese arm. This study organizes scientific analysis results with results of inscriptions reading of Seungja Chongtong in the Central museum of Kyunghee University. Three of Seungja Chongtongs are made with Cu-Sn-Pb ternary alloy which is not much differ in contents and the results of microstructure analysis of Seungja Chongtong 1 which could investigate a microstructure among the Chongtongs were found out that Seungja Chongtong is made by general casting, with no evidences of an additional heat-treatment and tempering. Furthermore, in results of lead isotope ratio analysis to find out a source of lead using during the production of Seungja Chongtong, It seems that Seungja Chongtong is made with a lead ore from northern Gyeongsangbuk-do Province and southern Gangwon-do Province called Korea southern zone 2 area.

• Journal of Daesoon Thought and the Religions of East Asia
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• v.3 no.1
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• pp.13-32
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• 2023

Both the late 15th-century Unicorn Tapestries now at the Cloisters Museum in New York and Daesoon Jinrihoe's Simudo Paintings present a religious narrative through the symbol of the search for an animal that is then subdued. This is now the prevailing scholarly interpretation of the New York Unicorn Tapestries, with the unicorn representing Jesus Christ, although a concurrent reading alluding to human love cannot be excluded. The article examines the New York Unicorn Tapestries according to their Christological interpretation, rooted in traditions about the unicorn popularized by the German medieval mystic Hildegard of Bingen, although in fact much older. It then discusses the Buddhist iconographic tradition of ox-herding paintings that represents an antecedent for the Simudo Paintings and notes the latter's differences and similarities with the New York Unicorn Tapestries.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.24 no.4
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• pp.197-215
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• 2013

This study generated the suggestions to minimize the duplicated cultural programs offered by various regional public service institutions via promoting effective collaboration among the institutions with the limited local resources while making the public libraries as the center of the partnership. We measured the level of program duplicability; conducted statistical analysis of the cultural program offering; and analyzed program participation status as well as the participation surveys. This led to the following results: 1) public libraries focused on offering humanities general education related programs; 2) participants had high expectations on the reading and writing programs; and 3) social welfare organizations offered programs, which targeted the older population, and the corresponding participants had high satisfaction rate. According to the results, the institutions including the public libraries should take into account of the ages and preferences of the potential participants when offering various programs. In addition, the public libraries should continue to offer humanities general education as well as information use programs.

• Korean Association of Arts Management
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• no.51
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• pp.135-166
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• 2019

Recently, the Japan Cultural Agency announced a plan for revitalizing the art market represented by reading museums (advanced art museums) to promote industry through strengthening the sustainability and economics of art museums. Along with these policy announcements, the Japanese cultural system and Bypyeongje are divided into pros and cons, and there has been a heightened opposition, which is now in a state where policy promotion has been temporarily suspended. The opposite reason is that it does not meet the museum's inherent purpose of preservation and lore, and the reason for favoring that commercialism can ruin the art world is that the Japanese art society is other than art museums and museums Also, it consists of non-profit organizations, art festival administration organizations, support staff, volunteers, etc., but because of the high subsidy bias, no real labor costs are paid, which means that it is virtually neglected. Also, there is a vigilance that the art society itself, which reduces its reliance on subsidies in response to social changes, can survive. Seeing that the situation is not much different from Japan, Korea is also actively discussing new establishments of the National Art Bank, performing art appraisal and evaluation functions for revitalizing art works, art loan, art trust, etc. There is. As it is difficult to solve realistic problems with subsidies from the future situation, it is difficult for us to expand investment in culture, and culture and economy are united and linked. You will find a plan to make it operational. In this regard, it is thought that the examination of the cultural and economic agency's strategy, represented by the Japanese advanced art museums, gives us a meaningful suggestion.

• MISULJARYO - National Museum of Korea Art Journal
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• v.99
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• pp.30-49
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• 2021

Scholar Byeoksu in a Pavilion by An Jung-sik (1861-1919; sobriquet: Simjeon) was first shown to the public in the exhibition Art of the Korean Empire: The Emergence of Modern Art at the National Museum of Modern and Contemporary Art, Deoksugung. This painting bears poems and inscriptions composed by Kim Taek-yeong (1850-1927; sobriquet: Changgang) and written by Kwon Dong-su (1842-?; sobriquet: Seokun). A rare example of an actual-view landscape painting by An Jung-sik, this painting is significant in that it depicts upper-class houses in Seoul in the early twentieth century. More importantly, it demonstrates an association among intellectuals of the time. Yun Deok-yeong (1873-1940; sobriquet: Byeoksu), who asked An Jung-sik to create this painting, was an uncle of Empress Sunjeonghyo (1894-1966), the consort of Emperor Sunjong. He was one of the most prominent collaborators who promoted the Japanese colonization of Korea. When Emperor Sunjong bestowed Yun Deok-yeong with a hanging board with an inscription reading "Scholar Byeoksu in a Pavilion," Yun requested the production of this painting to mark the event. Kim Taek-yeong, a master of Chinese literature during the late Korean Empire period, sought asylum in Nantong, Jiangsu Province in China with his family a month before the Protectorate Treaty was signed between Korea and Japan in 1905. In 1909, he returned to Korea. His decision to return was greatly influenced by Yun Deok-yeong and Yi Jae-wan (1855-1922). Upon his return, Kim Taek-yeong intended to gather materials for publishing a history book. Also, Kim continuously met his old acquaintances, made new friends, and socialized with them. He built relationships with people from various backgrounds, including those living in regions like Gurye, and even in other countries like Japan. This indicates that intellectuals of the time were still forming networks through poems and prose regardless of their political inclination, social rank, or nationality. Scholar Byeoksu in a Pavilion is of great value in that it shows an aspect of the intellectual exchanges among the learned people of the late nineteenth and early twentieth centuries.