• 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 Ginseng Culture
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• v.3
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• pp.38-53
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• 2021

This research uncovered that the world-renowned British Museum has displayed ginseng as part of notable exhibitssince its opening. The British Museum was established in 1753 upon the bequest of Sir Hans Sloane, a famous physician, scientist, and collector. At the heart of his collections was the vast amount of vegetable substance specimens. This study first reconstructed Sloane's collection activities in the context of British Imperialism and botanical science in the early modern period. It then traced the origins and routes by which four ginseng specimens were obtained: Radix Ginseng or ninzin from China (VS 532), Ginseng. Id (VS 8,198), the roots and seeds of ginseng (VS 7,825), and ginseng root (VS 12,140). These specimens were presumed to originate from one type of Korean ginseng from China, a Japanese ginseng variant from Japan, and two ginseng species from North America. The English public learned about ginseng and ginseng exhibits via a flourishing printing culture. In England, Korean ginseng was appreciated much more highly than American ginseng.

• Proceedings of the Costume Culture Conference
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• 2004.10a
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• pp.117-119
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• 2004

• Cross-Cultural Studies
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• v.36
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• pp.61-95
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• 2014

At the turn of the century in which European colonialism was reaching its zenith and modernization was gathering speed, public museums were institutionalized. This paper looks into the part these European modern museums played in territorializing academic disciplines like anthropology and art history. The museums to deal with are the British Museum and the National Gallery in London, Mus?e du Louvre in Paris, and Museumsinsel in Berlin. Rather than in-depth detailed analysis of each museum, the aim is to explore the ways in which these museological institutions interacting with modern disciplines in the wider colonial context objectified other cultures and formulated a framework of the world through classification and comparison of material things, on the basis of the judgement of their artistic values. This exploration is also to rethink theoretical positions and perspectives on the museum in Korea. It is remarkable in Europe that such academic fields as history, art history, anthropology and cultural studies look for new possibilities of museology in conjunction with the recent proliferation of studies on the museum as a medium to construct and deconstruct knowledge. Meanwhile, the mammoth European museums which are often considered a stronghold of museology advocate the 'universal museum' themselves, quite the modern idea but in a revised rendering. Under these circumstances, this paper seeks to shed light on the definition of the museum as an arena in which scholarly discourses about art, culture and history can be created and contested, on the effectiveness of the museum as a communication medium in a postcolonial era, and on the need to pay trans-disciplinary attention to the museum in its broadest sense.

• The Science & Technology
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• v.2 no.2 s.6
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• pp.44-49
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• 1969

<차 례> 1.창설 2.운영 3.제정 4.기능 5.직원 6.예산 7.참관자 8.표본 9.학술원정 10.곤충표본 11.새로운 발전 1.운석의 연구 2.전자현미경. 3.전자계산기

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.104-123
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• 2019

Various European countries were active rather early on in the formation and research of Korean ceramics, which are considered a representative genre of Korean art. Of these, England is especially noteworthy due to its relatively large volume of extant archival material related to the procurement of Korean ceramics in modern Britain. The material is important in that it contributes to our understanding of the formation and economic worth of these collections. Especially meaningful are the previously unknown documents dating to the period when institutions such as the British Museum and the Victoria & Albert Museum were most actively collecting Korean ceramics. These documents provide insight into the circumstances-process, prices, standards, perceptions, etc.-of procurement for the Korean ceramics now in British collections. The changes in the perception of Korean ceramics and the intention for forming such collections in modern Britain can be divided into three periods. The first, starting from the late 1870s and ending in the late 1880s, is categorized by the collectors' misguided ideal of Korean ceramics in the absence of a true understanding of the subject. During the late 1880s up until 1910, the Korean ceramics entering British collections were mostly ethnographic in nature and examples of implements used in Koreans' daily lives. Lastly, from 1910 to 1940, Korean ceramics were regarded as art objects to be collected, and Goryeo celadons formed the core of many of the British collections being assembled at the time. As for the matter of collecting standards and processes, the matter is examined through the study of three individuals who visited Korea and acquired Korean ceramics in the early 20th century. After 1910, the British started to make trips to the Far East via boat or the Trans-Siberian Express and purchase Korean ceramics during their travels. It has been confirmed that former bureaucrats were able to acquire 'good and old Goryeo ceramics' at reasonable prices from either tomb robbers or through direct visits to regions where such wares were being excavated. In addition, this study also focuses on the previously unfamiliar company Kavanaugh & Co, which made important sales and provided transport of various objects, including Korean ceramics, to its Western clients. The final part of this study examines the standards of appraisal for the Korean ceramics collected in modern Britain. The main criterion the balance between form and price of the piece. In other words, the best pieces were those that were of superior quality but acquired at the cheapest prices. British collectors particularly valued not only the Goryeo celadons favored by the Japanese but also Joseon ceramics for their innovative form, design, and technique. These standards of aesthetic and form were important factors that influenced the formation of diverse Korean ceramic collections in modern Britain.

• Korean Institute of Interior Design Journal
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• v.17 no.1
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• pp.69-76
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• 2008

The purpose of this study is to analyze the interior characteristics of the Yale center for British art by Louis I. Kahn. As his last realized project, the Yale center for British art shows Kahn's latter architectural thoughts about exterior/interior, space/structure and theory/practice. Kahn arranged unit space(room) around two interior courts and laminated them vertically. This spatial configuration is the result of solving the urban context which needed the continuity of street and complicated program including art museum, retail shop, studio and library. Although Kahn adpted severe formal configuration, he added changes to spatial relation. The visualization of architectural system is realized by revealing the relation of the unit space and structure. And this emphasized the presence of the center. The emphasis of tectonic expression is also the characteristics of interior in that structure is the logical part of whole building system rather than concealing object for the exterior of buildings. In the Yale center for British art, interior characteristics are summarized as spatial configuration based on the relation between unit space and two courts, the visualization of structural order, and the relationship between structure and light.

• 보존과학연구
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• s.6
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• pp.48-57
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• 1985

This report described the corrosion structure of excavated iron artifacts in terms of simple model based on the knowledge of the corrosion process. (Fig.1)(Table 1,2)In storing the objects, there are basically three ways in which they either break in wedges, flakes and dish-shaped flakes. Completely mineralized objects or those with only a small iron core tend to break into wedges and more solid objects either split small dish-shaped flakes or large flat ones.(Fig. 2,3,4)There are two ways, therefore, to prevent this from happening. One is to keep the artifacts rigorously dried in Silica-gel, never allowing the relative humidity to rise. This is feasible which the artifacts are in store but causes great difficulty if they are wanted for museum display. Because they still contain $ FeCl _2$ they are always at risk ; they contain the seeds of their own destruction. The other alternative is to use of washing process to dissolve out the $ FeCl _2$. In this connection, many different methods to stabilize the artifact have been employed; boiling iron in frequent changes of water, soaking in Na-sesquicarbonate solution, soaking in alkaline Na-sulphite solution. In this report, introduced the alkaline sulphite method by the N.A. North and C.Pearson.Finally, Let me extend my thanks to Ancient Monument Lab., Museum of London Conservation Lab., British Museum Conservation Div. and National Maritime Museum Conservation Lab. who have helped me and made many valuable suggestions.

• Journal of Digital Convergence
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• v.20 no.4
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• pp.565-573
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• 2022

This study aims to analyze the preference factors of the Korean MZ generation with regards to the online programs developed by museums abroad during the COVID-19 pandemic. World renown museums such as the British Museum, the National Gallery of London, Van Gogh Museum, J. Paul Getty Museum, Hasting Contemporary, Uffizi Gallery, and the Guggenheim Museum tackled the social-distancing situation with various creative online programs and events to continue their role as socially relevant institutions. Ten acclaimed programs conducted by these museums were shown to the Korean MZ generation, the most digitally savvy and frequent visitors to museums, to extract their responses to the various types of programs. The study showed that the Korean MZ generation prefer online programs which most closely reflect the onsite experience of a museum, and online contents with educational elements.

• Journal of Korean Library and Information Science Society
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• v.11
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• pp.143-173
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• 1984

This study has been done to review the historical development of the cataloging system of books with emphasis on those in England and the U. S. The findings can be summarized as follows: (1) In 1844, Sir Panizzi invented what seems to be the first of its kind in history to list the inventory systematically at the British Museum. It is believed to be a complete system consisting of 91 articles. (2) A comparatively systematic system was developed in America by Jewett. in 1852. Composed of only 39 articles, the system is considered a renovative one worked out with due regard to the infrastructure of a library. (3) In 1876, a classic system based on a lexicographical order was set up by Cutter. Rated as the best one that was designed by an individual, the theory has since exercised widespreading effects on cataloging. (4) American and British library scientists collaborated in printing several editions of numerous volumes on the principles of classification, but they are not believed fully successful in establishing a consistent and compressive system. Their efforts found significance rather in their being the first international collaboration and setting a foundation upon which the international system of today has been developed. (5) The ALA Rule, published concurrently in ALA and LC in 1949, had two parts in its classification, the list of authors and that of titles. Its scientific classification has completed the cataloging of books in its developmental stage. (6) The 1967 American-British Rules integrated the cataloging systems published under separate covers by authors and titles. The system as well as the 1961 Paris System has greatly contributed to the standardization of bibliographical description throughout the English-speaking countries. The International Standard Book Description standardized Bibliographic system has enabled the librarians in different countries to exchange their bibliographical sources easily, helped to overcome the language barrier in listing and contributed to the efficient reading of bibliographical records through machines. (7) The second edition of the Angelo-American cataloging Rules, promulgated in 1978 under the influence of the international standard bibliographical description, was the one in which all the previous Rules were revised to have their strong points. The adoption of punctuation system to employ the computerized data processing and the standardization of description are expected to improve the cataloging system not only in the English speaking countries but in the Universal Bibliographic Control as well.